San Diego CityBeat • Feb 26, 2014

Local

Music issue Gary

Wilson:

king of the

weirdos p.23

Ed Ghost Tucker’s feel-good

sound p.24

The Great

Demo

Review of 2014 p.25

2 · San Diego CityBeat · February 26, 2014

February 26, 2014 · San Diego CityBeat · 3

U-T San Diego on drugs Editorials in U-T San Diego can be really funny, and few have been funnier than one published on Feb. 19 about marijuana. It was a petulant little screed riffing off of President Obama’s comment in a recent interview with The New Yorker about how marijuana is no more dangerous than alcohol.

We believe Obama was making a loose comparison and pointing out the nonsensical differences in U.S. policies on alcohol and pot. To the U-T editorial board’s mind, Obama was saying that marijuana is exactly like alcohol.

Some “80,000 Americans die every year from alcohol-related causes, making it the third leading preventable cause of death,” the editorial lectured.

“Alcohol costs the U.S. economy $224 billion each year, mostly from lost productivity and health care expenses. Alcohol abuse, afflicting 17 million Americans, can cause several types of cancer and do major damage to the brain, heart, liver and pancreas.

And neighborhoods everywhere fret about crime when a liquor store opens nearby.”

So, apparently, this is what the U-T thinks we can expect after the San Diego City Council approves its rules governing medicinal-marijuana dispensaries, scheduled to happen this past Tuesday as CityBeat was going to press.

Or something precisely as bad—because everyone knows that marijuana is exactly as bad as alcohol. The president himself said it, and the U-T always takes what he says as gospel.

If you squint at that editorial just the right way, it really looks like the U-T is arguing for a return to Prohibition. That worked out super-duper well, right?

Oh, the U-T—it really is struggling mightily against the current of shifting public opinion. Another editorial, back on Feb. 6, ran itself in circles as it argued against a proposed initiative cosponsored by retiring San Diego Police Chief William Lansdowne that would change drug possession from a felony to a misdemeanor in order to free up money— that would otherwise pay for prison stays—for drug and mental-health treatment and crime-prevention programs in schools.

The editorial says that lowering penalties “would likely” mean more crime, because drug fiends would need more money to pay higher drug prices, which would increase because demand “might” increase, presumably because people will want to take ad-

vantage of vacation opportunities in county jails.

But then the editorial suggests that not very many people are being sent to prison for simple drug possession anyway, because the state is reducing the prison population amid a court order.

So, wait—if not very many people are being sent to prison, why are all these drug fiends suddenly going to be committing all these new and bigger and more heinous crimes? Wasn’t it because jail is way better than prison? We’re confused!

The U-T won’t—it just can’t!—hop aboard the Sensible Drug Policy Express.

Lansdowne supports the proposed initiative because he understands that treatment-and-prevention is a far better course than incarceration; by and large, people come out of prison far worse than they go in—which leads to more (very costly) incarceration. The one intriguing argument against the initiative is that it might undermine Prop. 36, which diverts drug offenders into treatment. But there’s evidence that the threat of prison isn’t an effective way to compel someone into meaningful and lasting treatment; people do treatment when they’re ready to do treatment.

The best way to reduce drug use is to stabilize families, invest in communities and fight poverty. Guess what the U-T’s position is on raising the minimum wage.

As for legalizing a few meAll aboard! dicinal-marijuana dispensaries, it’s a small step in the right direction, and kudos to the folks in the medicinal-marijuana community who understood that a small step forward is better than the big step backward that was taken in San Diego a few years ago.

No, a few dispensaries located in industrial zones far outside of communities won’t get the job done.

But the idea is that once it’s shown that they can work for their intended purpose, they’ll gain more public acceptance and timid City Council members will loosen the reins.

Of course, probably by then, pot will be legal for recreational use in California, just as it is in Washington and Colorado. Those dispensaries who keep their noses clean might be positioned well for the new era.

What do you think? Write to editor@sdcitybeat.com.

This issue of CityBeat is brought to you by people who are considering starting a Pussy Riot cover band.

Volume 12 • Issue 29 Editor David Rolland Associate Editor Kelly Davis Music Editor Jeff Terich Arts Editor Kinsee Morlan Staff Writer Joshua Emerson Smith Web Editor Ryan Bradford Art director Lindsey Voltoline Columnists Aaryn Belfer, Edwin Decker, John R. Lamb, Alex Zaragoza

Cover photo by Jeff “Turbo” Corrigan

Contributors Ian Cheesman, David L. Coddon, Seth Combs, Michael A. Gardiner, Glenn Heath Jr., Nina Sachdev Hoffmann, Peter Holslin, Dave Maass, Scott McDonald, Jennifer McEntee, Jenny Montgomery, Susan Myrland, Mina Riazi, Jim Ruland, Ben Salmon, Jen Van Tieghem, Quan Vu

Circulation / Office Assistant Giovanna Tricoli

Production Manager Tristan Whitehouse

Vice President of Finance Michael Nagami

Production artist Rees Withrow

Vice President of Operations David Comden

MultiMedia Advertising Director Paulina Porter-Tapia

Publisher Kevin Hellman

Senior account executive Jason Noble Account Executive Beau Odom

Accounting Alysia Chavez, Linda Lam, Monica MacCree Human Resources Andrea Baker

Advertising inquiries Interested in advertising?

Call 619-281-7526 or e-mail advertising@sdcitybeat.com. The advertising deadline is 5 p.m. every Friday for the following week’s issue.

Editorial and Advertising Office 3047 University Ave., Suite 202 San Diego, CA 92104 Phone: 619-281-7526 Fax: 619-281-5273 www.sdcitybeat.com

San Diego CityBeat is published and distributed every Wednesday by Southland Publishing Inc., free of charge but limited to one per reader. Reproduction of any material in this or any other issue is prohibited without written permission from the publisher and the author. Contents copyright 2014.

4 · San Diego CityBeat · February 26, 2014

February 26, 2014 · San Diego CityBeat · 5

Getting better all the time I was one of your letters to the editor a while ago [May 14, 2012] and just wanted to tell you that things with food stamps have gotten a lot better. The changes that they’ve made were certainly for the better. I thought that maybe you could use a little good news. Thanks for shining a light on that. If nothing else, you helped me see that I wasn’t the only one who was experiencing issues.

Daniel Kuhn, Mission Beach

Belfer’s hilarious column I was visiting your fair city last week (lots of fun!) and happened to pick up your publication and read Aaryn Belfer’s column about conversations with her daughter [“Backwards & in High Heels,” Jan. 29]. It was hilarious (I had to read sections aloud to my wife) and touching.

I should have had an Amy Rigby CD on at the same time to cap it off.

Keep up the great writing, and I’ll be looking for it.

Ted Wert Sagle, Idaho

Elitist, clichéd editorial I read with yawning enthusiasm your pre-

dictable Feb. 5 editorial on Kevin Faulconer.

While many of the same old CityBeat clichés echoed with every line, the most surprising assertion came from your inability to even mention the more obvious truths about his opponent, David Alvarez.

It seems that dispersed in between ads for bars, pot dispensaries and misogynistic strip clubs, your virtuous editorial did not even touch on the young Mr. Alvarez’s main source of funding: labor unions.

Judging from your assertions, one must vote for David Alvarez if for nothing else but to keep the hater of the underclass (Faulconer) from taking office. This obviously would trump Mr. Alvarez’s complete lack of experience on managing anything.

Additionally, your elitist letter assumes much and offends those that simply may have a different view than your paper (see “Chasing the Latino vote” and “Big illusion” in the same issue). You assume that those who may have wished to vote for Faulconer somehow have no city pride, do not care about their communities and, as you say, “haven’t been paying attention to civic affairs.” I guess that would include those of us who are independent, middle-class San Diegans who work with our community groups, volunteer our time to feed the homeless, volunteer with our churches (oh no, even Father Joe) and give to those who are less fortunate.

I guess that would also include those of us black, white, Asian and Hispanic San Diegans who attend community meetings

6 · San Diego CityBeat · February 26, 2014

and have seen the good work that Faulconer has done. Are we, too, ignorant haters? Or, perhaps, as you allude to, we hold a secret blood oath to the Lincoln Club?

I cannot speak for the majority of Republican, Democrat or independent voters who voted for Kevin Faulconer or David Alvarez. Nor will I pretend to explain their vast reasons for doing so. I can only vote in the way that I feel will produce a better San Diego. And if that makes me an ignorant, prejudiced and ill-informed San Diegan in the eyes of CityBeat, so be it.

Lance Schmidt, Linda Vista Editor’s note: Our editorial didn’t say that anyone who would vote for Faulconer hasn’t been paying attention to civic affairs. We said his campaign—by portraying him as someone who’s always cared about neighborhoods and homeless folks— seemed to target people who haven’t been paying attention. There’s a difference.

Sam had better be drafted Your Feb. 12 editorial about Michael Sam was absolutely correct.

As Jon Stewart said the other night, the NFL makes no qualms about accepting drug addicts, murderers, rapists, dog abusers, etc. They’re afraid of controversy? Puhlease.

How dare they have any doubts about

welcoming a nice, talented, well-spoken athlete like Michael Sam. Shame on them if he’s not drafted because of his sexual orientation!

Gail Mackler, Point Loma Heights

Out with chief, sheriff!

Et tu, Brutus? It isn’t enough that the Republican judges and Republican media publicized the Filner settlement right before the election, but you, too, have to run an anti-Filner article before the election? [“News,” Feb. 12, posted online earlier].

I wish that Filner had not been destroyed by Republican spies, informants, mata haris, prosecutors, police, sheriff and judges and that he had been able to change our police chief.

William Lansdowne should be prosecuted for insubordination. He refused an order from City Attorney Mike Aguirre to arrest the developer of the violating Sunroad building, and he runs a lecherous, out-of-control Gestapo police force.

Sheriff Bill Gore should be prosecuted for his heat-ray protestor machines and his torture dungeons of jails where verbal harassment, beatings and sleep deprivation, noise, cold and time tortures are practiced on a half-mentally-ill population.

Valerie Sanfilippo, Linda Vista

February 26, 2014 · San Diego CityBeat · 7

Lindsey Voltoline

targets, but no accountability, no enforcement.

“We’ve been feverishly working for six months to craft probably the most ambitious plan in the state, if not the country,” Capretz adds, “and I say that because we’ve made it an enforceable document.”

CityBeat had an interview scheduled for this story with Sanders, who’s now the president and CEO of the San Diego Regional Chamber of Commerce, but he backed out. A spokesperson says the chamber has nothing more to add beyond what it and other business groups said about the draft climate plan in a January letter to Capretz.

T

CAPping greenhouse gasses San Diego embarks on an ambitious plan to clean up its air

by David Rolland During a Sept. 20, 2013, debate among Kevin Faulconer, David Alvarez and Mike Aguirre, three of the candidates running for mayor of San Diego before the November primary election, moderator Wendy Fry asked this question: “Some people think climate change and rising sea levels will dramatically impact San Diego’s beaches and bays. Other people think that that threat is overblown. What camp do you fall in, and how will your administration respond?”

Faulconer answered by talking about how the city has appropriated funding to repair a decrepit seawall along the boardwalk in Mission Beach and then pivoting to neighborhood-infrastructure needs. Otherwise, he didn’t say what camp he’s in, and he didn’t say how his administration would

respond to the challenges of climate change.

So, it’s hard to know what Faulconer—who won the Feb. 11 special election and will take over as San Diego’s next mayor on March 3—thinks of the Climate Action Plan, a policy initiative in the works since 2009 that languished before interim Mayor Todd Gloria gave it a serious push in recent months.

“Mayor-elect Faulconer supports environmental protection, and is evaluating the draft Climate Action Plan to determine its practicality and effect on San Diegans, particularly homeowners,” Matt Awbrey, spokesperson for Faulconer, says in an email.

“This is one of several proposed policies he will be reviewing during his first weeks in office.”

The Climate Action Plan lays out how San Diego will meet certain greenhouse-gas-reduction goals by 2020 and 2035, and—importantly from a legal standpoint—it’s intended to help overcome the negative impacts the city’s growth has on air quality. It’s in its final-draft stage

8 · San Diego CityBeat · February 26, 2014

and will soon be submitted for public review under the California Environmental Quality Act (CEQA), a process that will take about eight months. Then it’ll go to the City Council for more public scrutiny.

There will be organized opposition to some of the plan’s provisions, but scrapping the plan or adopting a drastically watereddown version will likely not be options, judging from recent court cases.

Lani Lutar, executive director of the Equinox Center, a local think tank, doesn’t think the plan is in danger just because Faulconer is a Republican. She points to another environmental issue, sewage-water reuse, where Faulconer came around after initial opposition.

“What I know about Kevin,” Lutar says, “is that he is collaborative and he listens.” Also, she adds, “when you’re in a citywide elected position, you look at riskassessment and liability from a completely new lens.”

Lutar supports the plan in concept but notes that details

have yet to be hashed out. “To me, it’s a living document,” she says, “but there’s no question that we need a more sustainable San Diego. And, ultimately, I think if it’s done right, it will be a win-win for everyone.”

An earlier version of the climate plan was completed under then-Mayor Jerry Sanders in 2011 and emerged from CEQA review in 2012. But a committee created by the City Council—the Economic and Environmental Sustainability Task Force—had problems with it, and Bob Filner, who took over for Sanders late in 2012, planned a do-over. However, Filner lagged, and after he resigned as a result of a sexualharassment scandal last August, his temporary replacement, Gloria, contacted Nicole Capretz, who had chaired the task force, and offered her a job in his office.

Her main mission: Finish a new climate plan.

The Sanders plan, Capretz tells CityBeat, “was a very voluntary-based document—like, it was kind of hopes, dreams, wishes that we’ll hit these climate

he Climate Action Plan (CAP) is a way for the city to reach climate-related goals laid out in a 2008 update of its General Plan, the blueprint for how the city plans to grow. It’s also San Diego’s contribution to California’s effort to reduce greenhouse-gas emissions statewide.

The CAP uses 2010 emissions as a baseline for quantifying its goals and judging its progress.

That year, the city estimates that it produced nearly 12.5 million metric tons of greenhouse gasses. The CAP calls for emissions of roughly 10.6 million metric tons in 2020 and roughly 6.4 million metric tons in 2035. State and federal mandates are expected to account for 46 percent of the reduction by 2035. Proposed changes to local energy and transportation policies are expected to account for another 30 percent and 11 percent of the reduction, respectively.

So, how’s this going to happen? Capretz points to three primary strategies.

One is to get people out of their cars and onto their feet or their bikes and into mass transit, particularly in 14 so-called highquality transit areas citywide, which are places with transit corridors and lots of jobs. According to the CAP, transportation is the biggest local culprit, belching out 56 percent of San Diego’s greenhouse gasses in 2010. The goal is for 25 percent of overall commutes in these 14 areas to be via mass transit by 2035 and 18 percent to be via bicycle.

The city would monitor how people are commuting in these areas annually, Capretz says, as well as, “How’s the bike master plan being implemented? Where are the protected bike lanes going? Where are we re-striping?

Where’s the density going?”

Arguably, the CAP’s most ambitious goal is for San Diego to become a so-called communitychoice aggregator by 2020. That means the city would take over from San Diego Gas & Electric the purchase of electricity; SDG&E would continue to deliver electricity throughout the city, but the city would buy power on the open market. The point would be for the city to control how much energy it gets from renewable sources. The CAP envisions San Diego using 100-percent renewable energy by 2035.

“That’s a big initiative,” Capretz says.

The state authorized community-choice aggregation (CCA) in 2002 as a response to California’s energy-deregulation fiasco and energy crisis of 2000 and 2001. The first CCA, Marin Clean Energy (MCE), was created in Marin County in 2010. The city of Richmond joined MCE later, and Napa County is currently considering joining. MCE customers can choose a plan that uses 50-percent renewable energy or pay a higher rate for 100-percent renewable. Sonoma County also has a CCA program, and others are in the works up and down the state.

California is one of six states that allow CCA. Pacific Gas & Electric, one of the state’s big investor-owned utilities, pumped tens of millions of dollars into 2010’s Prop. 16, which would have made it harder for local governments to form CCAs, but voters rejected it. As a result, all it takes is a majority vote of people within a proposed CCA’s boundaries.

Capretz says that a firm called Commonwealth Energy Consortium is conducting a feasibility study on CCA and energy rates, for the city’s benefit but at no cost. She says the city will commission a second study that’s currently included in the next

fiscal year’s budget.

The most controversial part of the CAP is a proposal to require all buildings in San Diego to be retrofitted for energy efficiency at the point of sale. The proposed ordinance would expand on an existing law in San Diego that requires water-efficiency retrofits when buildings are sold.

“We’ve heard a lot about that ordinance,” Capretz says.

She says the point-of-saleretrofit proposal has been the thorniest issue for business groups she’s met with, and it’s among the short list of plan elements a coalition of business groups won’t support, according to a Jan. 15 letter signed by Chamber of Commerce CEO and former Mayor Sanders, as well as the heads of the Greater San Diego Association of Realtors and the Industrial Environmental Association, who were also speaking on behalf of the Building Industry Association of San Diego, the Building Owners and Managers Association, the National Association of Industrial and Office Properties and the San Diego County Apartment Association.

“What I’ve tried to tell them,” Capretz says, “is, No. 1, we have adopted financing programs to help amortize the cost over 15 to 20 years, and these programs are really popular. Also, we do have incentive and rebate dollars, just like we do for our existing water ordinance. So, that will help defray any of the costs that are associated with that.

We’ll do our best to maximize the amount of those rebates. Or we could cap the amount that it would cost, these upgrades.

There are different creative ways we can structure the ordinance so that it doesn’t seem as burdensome as it might initially just on first blush.”

Lutar, of the Equinox Center, takes the long view. Yes, there

will be up-front costs, she says, but “what it’s really about is sustainability and how we best use our natural resources for efficiency, and, ultimately, that’s going to save businesses, taxpayers and residents money in the long run.”

The business groups, more broadly, want the CAP to slow its roll—they want it to be less ambitious and less of a mandate.

Their letter suggests limiting the goals to the year 2020, not 2035, and that the plan should be more voluntary and based on incentives rather than requirements, much like the way Capretz described the original plan under Sanders.

But that approach could get the city in trouble, as has happened to San Diego County and the San Diego Association of Governments, which have both been rebuked by Superior Court Judge Timothy Taylor for drafting plans that won’t effectively meet state goals for reducing greenhouse gasses. All it might take is for an environmental group or a community activist to sue for noncompliance with state requirements or the city’s General Plan.

“It puts us at great legal risk if we choose the path of least resistance, which is, ‘Let’s just make this a vision document or

a voluntary-based document,’” Capretz says. “It’s just that the courts have been really clear about what we need to do.”

It’s not clear how Mayor Faulconer will proceed with the CAP. His campaign for mayor was supported by the groups that are opposed to parts of the plan.

“So,” Capretz says, “the pitch is going to be, like, ‘Hey, let’s not put the city at legal risk, and let’s do the right thing, get ahead of the curve of this beast called climate change and what it’s going to mean for the city, and embrace these things.”

Write to davidr@sdcitybeat.com.

February 26, 2014 · San Diego CityBeat · 9

aaryn

backwards & in high heels

belfer Knowledge of black history is in Jeopardy!

Since nobody in their depraved CityBeat-reading “Way before your time,” he consoled. Sort of like Dr. mind watches Jeopardy!, I’m going to guess that you King and Old Testament stuff, if you ask me. Perhaps a missed this year’s College Championship tournamore contemporary, Belfer-style clue would allow the ment and all the excitement that ensued. And, oh, coeds’ little lights to shine: how chilling it was, my friends. Like the talons of a African American History for $10,000: This gnarled claw being dragged in slow motion across teenager was gunned down in Florida without any a 3-mile long chalkboard, the second round of one conviction of his killer. The contestants shifted nerparticular episode offered what has to be the most vously on their feet before Trebek gave each a pat uncomfortable, awkward and socially illuminating on the head and acknowledged that, yes, this multimoment in the long history of a show that, by defipart answer was unfair. nition, invites lots of discomfort and awkwardness.

Hmmm. African American History for $30,000: (The jury’s out on overall illumination.)

This child’s murder in 1955—the trial for which reLast Monday, three of America’s whitest and sulted in acquittals for both defendants after only 67 brightest faced off for cash to pay down the educaminutes of deliberation—was a pivotal moment in the tional debt they’re accruing alongside so many useCivil Rights Movement. Uh—blinkfest and Trebek less facts. Knowing the name of the guy from the Old again with the before-your-time schtick.

Testament who ripped the gates off the city of Gaza, Finally, the $64,000 question: This is the measure then lugged them up a hill on his back is impressive of how far we’ve come since 1955. All three contestants on trivia night. But it was during the second round buzzed in, joyous to have this one in the bag, cited where things really got rocking. The topics were: Barack Obama (in unison), and Trebek gave them Thomas, Write?; Weather Verbs; International Cinblonde American Girl Dolls as consolation prizes. ema Showcase; Talk Nerdy to Me; Kiwi Fauna; and Yeah, my version of Jeopardy! College ChampionAfrican American History. ship doesn’t mess.

You have to know where this People. We know down under, African American is going. but we don’t know black history?

There they were, Laurie, (I don’t use “African-American.”

History had smartly Whitney and Tucker Pope (I’m Too PC for me. In a recent accidenremoved its hoodie so not making that up) behind their tal viewing of the TMZ channel, a podiums, each exhibiting the “reporter” mentioned that 2013 as to be plainly visible trademark joystick twitch, and had been a “great year for Africanand less threatening. barreling through category after American history in film.” And he category. They nailed Weather didn’t take a breath before naming Verbs. And Kiwi Fauna, too, expertly dispatching the film Mandela as an example. That guy wouldn’t the clues about bats and tadpoles and colonies, do so well on Jeopardy!, either.) “In other words,” as Lindy West of Jezebel put it, “these kids were more leaving behind a giant glowing blue wall of nothconfident in their knowledge of weird animals in ingness—except for one full category lurking conNew Zealand than black human beings in America.” spicuously over there on the far right.

So it goes. So it goes.

Perhaps sensing imminent danger, African To be fair, most kids—of all ages, regardless of American History had smartly removed its hoodie color—don’t know much about black history mostly so as to be plainly visible and less threatening. But it because nobody is teaching it to them. Teachers are was blaring its relentless Jeopardy! theme song and about as comfortable talking about it as they are rethrowing an increasingly disrespectful side-eye at vealing their true feelings about the common core the three nervous contestants, Alex Trebek and ev(that will be another column). Plus, there’s the alleryone else in America. I dare you to come at me, it important math and English to cram in. When I inseemed to be saying. It definitely instigated. quired as to what was being done for Black History With no choice but to confront, Tucker Pope Month at my daughter’s school, I got the we-covwent for it, and he must have been super-relieved ered-MLKJ-at-his-birthday platitude. I don’t even when the first—and, at $400, the cheapest—clue inbegin to have the energy to fight that sad-ass battle. cluded reference to a certain someone’s “I Have a Of course, like many black families, I teach it at Dream” speech. How predictable was that? Martin home as best I can, but I’d love all children to be Luther King Jr. The one black historical figure that getting it and getting comfortable with it. That is every single American school manages to talk about really the only way we won’t end up with more genat some point during K through 12. Heckuva job, erations of Lauries and Whitneys and Tucker Popes education system. Heckuva job. who can’t be held responsible for not knowing stuff Emboldened, the contestants plowed forward. that came before their time. I’m sure they’re all very African American History for $800. nice people and will be great conversationalists In 1976, Clarence Norris, the last member of these when talking about larvae at a cocktail party. But “boys,” was pardoned in Alabama for a 1931 rape conI’d like to hope for more. viction. Here, all three kids stood *blinking* *blinking* until—at the boop-boop-boop of the buzzer— Write to aaryn@sdcitybeat.com Trebek filled the gaping silence with the answer (The and editor@sdcitybeat.com.

Scottsboro Boys) and forgave their lack of knowledge.

10 · San Diego CityBeat · February 26, 2014

February 26, 2014 · San Diego CityBeat · 11

by michael a. gardiner Michael A. Gardiner

Fourth Ave., kouskousrest aurant.com). The sweet mint tea, Morocco’s national drink, speaks of those early Arab conquests, as does the look of the place, with its richly patterned fabrics and billowing textiles. The music bears the unmistakable stamp of Andalucía. So does the food.

Tagines are an example.

This class of dish consists of spiced meats and vegetables, stewed or braised for long periods of time. Originally prepared—and often presentKous Kous’ b’stilla rolls ed—in a shallow earthenware vessel with a conical top (essentially, an early slow cooker), this dish is Berber in origin but is now prepared using European-style techniques.

The chicken tagine is one of Kous Kous’ best main courses. After a caramelizing sear, darkmeat chicken is braised in garlic, ginger and a Not one of the usual suspects saffron sauce with olives and one of Moroccan cuisine’s greatest ingredients: preserved lemons There’s only one good reason not to order the b’stilla (with their sour and salty flavors but also a powroll appetizer at Hillcrest’s Kous Kous Moroccan erful dose of umami). Another good tagine is the Bistro & Lounge: It would be difficult for any meal vegetarian version, featuring bell peppers and toto go uphill from there. This tapas-scale version of matoes stuffed with sweet corn, rice and green the classic Moroccan dish features filament-thin beans in a tomato sauce. The Berber lamb-shank layers of phyllo-like dough wrapped around shredtagine was a disappointment. The meat was dry, ded saffron chicken, honey, cinnamon and ground the braising liquid sauce greasy and the green almonds and sprinkled with a light dusting of powbeans cooked to limp death. dered sugar. It’s savory. It’s sweet. It’s heartbreakThe merguez—a spicy lamb sausage—served ingly familiar and profoundly exotic. It is, in short, with squash, carrots and garbanzo beans over a microcosm of Moroccan cuisine. couscous with a ginger, garlic and butter sauce Morocco may be on a different continent from was excellent. As good as the sausage was, Spain, but it’s just eight miles away at the Strait of though, the highlight was the couscous. Instead Gibraltar’s narrowest point. Its cuisine, similarly, of the coagulated mass that instant couscous seems vaguely familiar yet profoundly mysteritends toward, each grain of the ground semolina ous. It’s comfort food, but with a pronounced difpasta was distinct and could be experienced— ference and a beguiling quality. and enjoyed—individually.

Morocco’s cuisine was shaped by geography.

But it was all epilogue after that b’stilla roll.

The Berbers—descendants of the Carthaginians— The familiar, the mysterious, the deliciously exwere there when the Arabs arrived from the Middle otic flavors that are the mark of Morocco, culiEast with their spices in tow. For the better part of narily and culturally, were all in that appetizer. a millennium, the Moors controlled parts of Spain, A bite of that roll transports you half way around resulting in an exchange that shaped the cuisines the world and just a little more than eight miles south of Gibraltar. of both lands. European powers vying for control of Morocco in the 19th century—France won out— Write to michaelg@sdcitybeat.com left bits of their cuisine behind upon departure. and editor@sdcitybeat.com.

All of that history is evident at Kous Kous (3940

the world

fare

12 · San Diego CityBeat · February 26, 2014

bottle

By Jen Van Tieghem

Rocket Wine and song

Jen Van Tieghem

In the spirit of this Local Music Issue, I gave some thought to which wine bars in town also serve up musical entertainment. There are plenty of places to enjoy a glass with some swanky jazz, but if you want something a little more rock ’n’ roll, the Riviera Supper Club’s Turquoise Room Riviera’s new wine bar is a superb spot.

Most nights, bands are featured in the bar, as has been the case for several years. Alternative rock, alt-country and soul-fusion are some of the genres on the calendar in coming weeks. But with Michael Rammelsberg of Proprietor’s Reserve Wine Bar taking ownership in 2011, the wine also became a high priority.

With more than 75 wines by the bottle and around 20 by the glass, the list boasts many California offerings and a few other regions. One of my favorites is the 2010 Ballistic by Tobin James, a Zinfandel from Paso Robles. This lush, complex red opens with a touch of sour raisin on the tongue. The flavors smooth into rich cherry and currant notes.

On a recent visit, I decided to try something from the Provocative White section—the 2011 Clayhouse Adobe White. The blend of predominately Viognier and Sauvignon Blanc presents the best characteristics of both, with grass and grapefruit flavors.

The mellow finish is easily palatable, tasting of lemon custard.

Riviera (rivierasupperclub.com, 7777 University Ave. in La Mesa) has furthered its wine focus by adding a wine-bar section that opened on Valentine’s Day. The front patio was converted with chic bar and high-table seating. For now, it’ll be open Friday and Saturday nights with a special menu featuring wine-friendly foods like stuffed mushrooms, cheese plates and more.

With this, The Riv now offers the best of both worlds for fans of wine and music: for wine lovers, an inviting ambiance, food that complements our drink of choice and stellar wine selections, and for music lovers, a comfortable place to let loose and check out killer bands.

Write to jenv@sdcitybeat.com and editor@sdcitybeat.com.

February 26, 2014 · San Diego CityBeat · 13

by Mina Riazi mina riazi

The dosa offerings at Surati Farsan (9494 Black Mountain Road in Miramar, suratifarsan.com) run the gamut from savory to sweet, plain to stuffed.

The foot-long masala cheese dosa is crisp on the outside and chewy on the inside. Drag a piece of the lacy-edged snack through coconut chutney to soften the sting of its spiced potatoes. Surprisingly, cheddar—and not paneer— forms the dosa’s cheese component.

That confused me at first, but I ended up appreciating the cheddar’s slow, luxurious stretch.

A vegetarian restaurant and bakery, Surati Farsan specializes in fare from the Gujarati region of Western India. The original mart opened in ArteThe chole samosas, dahi sev puri and Delhi chaat sia, Calif., nearly 30 years ago and was later joined by the San Diego location.

The eatery’s extensive menu offers more than just dosas—there are crunchy samosas packed with chickpeas and corn kernels that pop in your mouth. A spicy chickpea curry, or chole, accompanies the deep-fried pastries. Temper the heat with gulps of mango lassi, a yogurt drink that Dosas and samosas boasts miraculous cooling powers.

Yogurt also appears in the Delhi chaat—the Your food arrives fast at Surati Farsan Mart, least resplendent of the dishes I tried. Chaat is a but it’s not fast food. You whisk it away on a black term for the sweet and savory snacks of India’s plastic tray, cafeteria-style, and settle comfortstreet stalls. In the Delhi chaat, potatoes, beans ably in your seat before noticing that the plates and yogurt are layered over crushed whole-wheat and cutlery are plastic, too. shells. The fried dough pieces quickly lose their My inner environmentalist winced a little, crunch and become soggy, resulting in a creamy, pained by the sight of all that unnecessary Styheavy dish that isn’t worth all the extra calories. rofoam and plastic. Then, my masala chai tea arGo for the dahi sev puri instead. Golf-ballrived in a paper cup and cemented Surati’s inforsized puffs of deep-fried dough carry mung mal, food-court vibe. beans and black chickpeas. Yogurt gets drizzled But if the food is delicious, does the presentation over the sweet-and-spicy morsels, and a scattermatter? Of course, my mother would say matter-ofing of crunchy noodles completes the popular factly. I understand that it does count, and I’d love street food. Though the dahi sev puri and the to swap the plastic for porcelain, but when I broke Delhi chaat share many of the same ingredients, into Surati’s masala cheese dosa, the last thing on the former’s easy-to-eat, finger-food component my mind was the unsightly, disposable flatware. makes all the difference.

Dosas are wafer-thin, South Indian pancakes For dessert, you’re bound to find something made with rice and urad dal, or black lentils. After you like among Surati’s long list of sweets. If not, soaking for several hours, the rice and lentils are then a hot cup of masala chai, milky and fragrant, finely ground, then blended together, creating a will do the trick. Now, if only you could sip it from a ceramic mug. light batter that ferments overnight. The mixture gets ladled onto a hot griddle. Working from the Write to minar@sdcitybeat.com center, you must spread the batter quickly and and editor@sdcitybeat.com. carefully, so that it cooks evenly.

One Lucky

Spoon

14 · San Diego CityBeat · February 26, 2014

urban

by Nina Sachdev Hoffmann

scout Where can I find…

42,500 locally made things?

Yes, Dear. Studio

On a recent night at the shiny new Headquarters at Seaport District, a couple excitedly (perhaps drunkenly) burst into Simply Local, the merchant marketplace that opened in mid-November. After walking up and down every aisle of this new mecca for things made right here, the man said, “We’ll take one of everything!”

With more than 50,000 products from 62 vendors, he’s going to need a bigger Sarah Larson’s candles and glassware in jail-cell cubbies shopping bag.

It’s really that easy to fall in love with everymen’s accessories. thing at Simply Local (simplylocalsandiego.com), Fun fact: The business cards have step-by-step where about 85 percent of the products are localinstructions on how to properly tie your newly ly made and represent the best and brightest of acquired fabulous neckwear.

San Diego’s creative workforce. With black-tieappropriate bowties, bamboo T-shirts, hot sauce, Love Tatum (lovetatum.com) beer paraphernalia, paper goods, aromatherapy What they make: Show-stopping handmade pillows, alpaca blankets—need I go on?—there’s jewelry. Choose from designs made with sterling something for everyone. silver, rhodium, 24-carat gold and semi-precious stones from around the world.

The store’s aesthetic really brings it all toFun fact: As if runway-worthy jewelry weren’t gether, thanks to manager and visual merchanenough, they also carry a line of alpaca throws, diser Sarah Larson, who’s made the thousands scarves and blankets. Have you ever napped under of items look completely cohesive, right down an alpaca blanket? If not, you’re not doing it right. to the display pieces themselves. The doors that make up the outside of the cash register are PubCakes (pubcakes.com) salvaged from the police headquarters that reWhat they make: Craft-beer cupcakes. Yup. mained dormant for decades until 2012, when Thankfully, a craft-beer aficionado had the good Terramar Retail Centers began redeveloping the sense to start putting beer into her dessert.

1939 landmark. The cubbies Larson uses for her Fun fact: You can only buy the mix at Simply Loown display of candles and glassware used to be cal, but head to the North Park or La Mesa farmpart of the jail cells. Bamboo “Stay Classy” (à la ers markets if you want ’em fresh.

Anchorman) T-shirts hang from an armoire that Larson and owner Brian Beevers scored from his Eco Design Studio family’s 100-year-old farm up in Denair in cenWhat they make: Leather-bound goods such as tral California. Individually, the stuff is just that: necklaces and notebooks. old, random. Here, everything belongs.

Fun fact: Legend has it, a man walked into the The result is something of a farmers marshop looking for a Valentine’s Day gift for his wife. ket—there’s something new to peruse, examine He left with a mini-book necklace. Did he giftor linger in front of every few feet or so. That’s wrap it and call it a day? No. On every single page definitely not an accident; Beevers is an entreof that mini-book, he wrote all the reasons why he preneur who’s been running the UTC, Golden loved his wife. Sir, whomever you are, you win.

Hill and Point Loma farmers markets for several years. “We wanted to have a place where the venkatzpajamas (katzpajamas.com) dors didn’t have to man the booth,” Beevers says.

What they make: Handmade pillows, towels, All they need to do is pay a licensing fee, and Simtote bags and clothing printed with eco-friendly, ply Local takes care of the rest. water-based ink. I had my eye on a few things to Beevers adds that Simply Local’s sales are buy, but, ultimately, I went for practicality and already “above projections,” and they’re even left with a beautifully printed peacock kitchen planning to expand with more locations and an towel ($12) that’s 100-percent cotton and recyonline store that will eventually sell every single cled from flour sacks. item you see in the shop.

Fun fact: They take custom orders, so send in Here are a few merchant highlights: your artwork or ideas.

Lord Wallington (lordwallington.com) Write to ninah@sdcitybeat.com What they make: Named after the family dog, and editor@sdcitybeat.com. this is one hell of a dapper line of bowties and

Februry 26, 2014 · San Diego CityBeat · 15

the

SHORTlist

ART

COORDINATED BY KINSEE MORLAN

The anti-cancer graffiti will be part of the backdrop of the Brewbies Festival, which will be held in the Bagby Beer parking lot (601 S. Coast Hwy.) from 1 to 5 p.m. Saturday, March 1.

Melanie Pierce, the woman behind the breast-cancerawareness event, says the artwork was coincidental, but she’s happy it’s there.

“The whole story is really inspiring,” Pierce says.

“It’s a true testament to why we do this event.”

The annual craft-beer festival will feature more than 50 breweries from around the country. Half of them have brewed specialty pink beers for the fest. Some brewers use strawberries, raspberries, rose petals or pomegranate juice to color their beer, while others, says Pierce, “sorta cheat” by simply using dyes.

If you’re into local craft beer, by now Pierce herself is working with a Los Angeles brewery you’ve heard the story behind the to create an oatmeal stout with a foamy pink head.

“Cancer Can’t Kill Me” graffiti that apA $35 ticket ($50 if you buy it at the door or $75 peared on a wall at the construction site of Bagby for VIP status) gets six tasters. Proceeds benefit The Beer Co., a brewery in Oceanside that’ll hopefully Keep A Breast Foundation. Food vendors will be open this summer. In short, the Bagby folks initial- onsite, as will Gladys, an adorable miniature-horsely saw the graffiti as an act of vandalism. But once turned-unicorn touring the country with event they uncovered the story behind the piece—an art- sponsor Spy Optic. brewbies.org ist put it up to honor a friend who was battling the disease and eventually succumbed—the brewers embraced it.

“The mural is still up, and it will remain a part of Bagby Beer for as long as Bagby Beer is here,” says Will Hillcrest Fat Tuesday be packed owner and head brewer Jeff Bagby. with the same sort of flair and fun you’d expect from an event put on by the folks behind the annual Pride Festival? Hell, yeah! A masquerade parade, The 13th annual international Bicycle complete with floats and tossed beads, kicks things Film Fest will spin into North Park on off at 6 p.m. Tuesday, March 4, free and open to the Friday, Feb. 28, and Saturday, March public. If you wish to stay for the 21-and-up portion, 1, with photo exhibits, rides, contests, parties and a $20 ticket ($30 day-of ) gets you into a street party several films from around the world, all in celebra- with stilt walkers, an outdoor nightclub, trapeze tion of one of the most elegant modes of transpor- artists, fire dancers, a main stage hosted by Tootie tation ever invented. Festivities start with happy from Lips (shame on you if you don’t know Tootie), hour at 5 p.m. Friday at gourmet food vendors and two bars. We can’t think Tiger!Tiger! (3025 El of many better ways this side of NOLA to fit in some Cajon Blvd.), then con- pre-Lent debauchery. Mardi Gras-appropriate attinue down the street tire is welcomed. hillcrestfattuesday.com with Breakless: Photos by Matt Lingo at the Coffee & Tea Collective (2911 El Cajon Blvd.). On Saturday, there’s more beer to be drunk starting at noon at Tiger!Tiger, and the main event—the film Paperboy, directed fest—starts at 6 p.m. at

by Mik Gaspay the Museum of Photographic Arts in Balboa Park. The after-party rolls into Bar Pink at 10 p.m. with DJ Mike Delgado. bicyclefilmfestival.com

1

BEER FOR BOOBS

3

2

WE’RE ROLLING

16 · San Diego CityBeat · February 26, 2014

PARTY NOW, REPENT LATER

Sway + Art at Ux31, 3112 University Ave., North Park. A music and art event featuring art by Jimmy Ovadia, Jason Acton, Alex Pedroza and others, music by Matt Molarius, Grampadrew, Rey & Davies and Creature and the Woods. At 9 p.m. Wednesday, Feb. 26. $6 pre-sale, $10 door. swayandart214.brownpapertickets.com Artist Salons at TPG2, 1475 University Ave., Hillcrest. Join local artists like Katherine Brannock, Scott Sampaio, Carolyn Ramos and Nicole Wascak, who all have work in TPG2’s current exhibition, for a conversation moderated by MuseSalon Collaborative. From 7 to 9 p.m. Thursday, Feb. 27. $5 suggested donation. 619-2036030, thumbprintgallerysd.com/tpg2.html HPatricia Cue, Richard Keely, Mark Siprut at SDSU Downtown Gallery, 725 West Broadway, Downtown. The three artists will be on hand to discuss their works in Personal Narratives, the second in a series of exhibitions featuring work by the faculty of the School of Art and Design at SDSU. At 6 p.m. Thursday, Feb. 27. downtowngallery.sdsu.edu Bella Hollingworth at elos Shoes, 3404 Adams Ave., Normal Heights. Hollingworth, an award-winning member of the San Diego Watercolor Society, displays her work. From 6 to 9 p.m. Thursday, Feb. 27. elosshoes.com/events HSPLIT at Brokers Building, 402 Market St., Downtown. Madeline Sherry displays seven years’ worth of figurative works emanating from the cultural, sociopolitical and psychological aspects of mass advertising of the ‘40s and ‘50s. Opening from 7 to 10 p.m. Friday, Feb. 28. 858-2229367, madelinesherrypaintings.com Artistic Feets at Fifty Seven Degrees Wine Bar, 1735 Hancock St., Mission Hills. A showcase of local artists like Beatriz Hidalgo, David Lambert, Guy Lombardo and over a dozen more. Plus, a “kinetic collage” light show by Greg Lloyd and music from bands Mantis and Antiquark.

Opening from 6 to 10 p.m. Friday, Feb. 28. 619-886-7924, fiftysevendegrees.com HPeople on Bikes at Gym Standard, 2903 El Cajon Blvd. #2, North Park. In conjunction with the SD Bicycle Film Festival, this exhibition will feature a collection of photos of bike culture curated by Edwin Negado. Opening from 6 to 8 p.m.

Friday, Feb. 28. 619-501-4996, bicyclefilmfestival.com HDavid Prince at Ship in the Woods, 1660 Lugano Lane, Del Mar. The final installment of Ship in the Woods’ HELM series features Prince, and L.A.-based artist who explores the constructed use of outdoor spaces. From 6 to 10 p.m. Friday, Feb. 28. facebook.com/shipinthewoods Jason & Juliet Phillips at Mosaic Wine Bar, 3422 30th St., North Park. Landscape, urban and abstract photographic artwork by the two photographers. Opening from 7 to 11 p.m. Friday, Feb. 28.

619-906-4747, juxphoto.com

helmuth-project.com HPierce Williams: Reinvention at ArtLab Studios, 3536 Adams Ave., Normal Heights. Vista-based Williams (aka Bill Pierce) shows off his new stencil print series, many of them portraits of famous faces. Opening from 7 to 11 p.m. Saturday, March 1. 619-283-1199, artlabca.com Wander at Lone Flag, 2690 Via De La Valle, Suite D140, Del Mar. A photo exhibition (much of it 35mm film) and limited zine release from locals Brooks Sterling and Julian Martin. The work documents their travels and adventures together. Opening from 6 to 10 p.m. Saturday, March 1.

858-793-0712, loneflag.co

BOOKS HDr. Runoko Rashidi at World Beat Cultural Center, Balboa Park. The author, historian and world traveler will discuss and sign his newest offering, Black Star: The African Presence in Early Europe. At 6 p.m. Wednesday, Feb. 26. 619-2301190, worldbeatculturalcenter.org HJenifer Ringer at Westgate Hotel, 1055 Second Ave., Downtown. The former principal dancer at The New York City Ballet will sign and discuss her new memoir, Dancing Through It, during the Westgate’s traditional high tea. From 2:30 to 5 p.m. Saturday, March 1. $40. 619238-1818, adventuresbythebook.com Gay Hendricks and Tinker Lindsay at Mysterious Galaxy Book Store, 7051 Clairemont Mesa Blvd., Clairemont. The relationship expert (Hendrick) and Hollywood screenwriter (Lindsay) will sign and discuss their Ten mystery series, the newest offering being The Third Rule of Ten. At 2 p.m. Saturday, March 1. 858-2684747, mystgalaxy.com Daniel Suarez at Mysterious Galaxy Book Store, 7051 Clairemont Mesa Blvd., Clairemont. The author will discuss and sign his new sci-fi thriller, Influx, about a particle physicist who makes a startling discovery only to have a shadowy organization try to cover it up. At 2 p.m. Sunday, March 2. 858-268-4747, mystgalaxy.com Sylvester “Skip” Sviokla at Warwick’s Bookstore, 7812 Girard Ave., La Jolla.

The local author will discuss and sign his book, From Harvard to Hell and Back: A Doctor’s Journey Through Addiction to Recovery. At noon Sunday, March 2.

858-454-0347, warwicks.indiebound.com Brandon Sanderson at Mysterious Galaxy Book Store, 7051 Clairemont Mesa Blvd., Clairemont. The official launch party and signing for Sanderson’s newest offering in the Stormlight Archive fantasy series, Words of Radiance. This is a ticketed event so patrons must purchase the book in order to attend the signing. At 7 p.m. Tuesday, March 4. $27.99. 858268-4747, mystgalaxy.com

COMEDY

HWill Eisner Week Exhibit at SDSU Library, 5500 Campanile Drive, College Area. The SDSU Library Comic Arts Committee presents an exhibit celebrating Will Eisner, featuring works by the “father of the graphic novel” alongside comics and art by SDSU illustration students. Opening Saturday, March 1. On view through March 7 during library hours. 619-5946875, library.sdsu.edu/comicarts

HThe Bill Hicks 20th Anniversary Memorial Show at Comedy Store, 916 Pearl St., La Jolla. On the 20th anniversary of the death of one of the greatest comics of all time. Local comics pay tribute while raising funds for the Bill Hicks Wildlife Foundation.

Featuring performances from Jason Collings, Gordon Downs and a special appearance by Ryan Hicks (Bill’s nephew.). At 8 p.m. Wednesday, Feb. 26. $10. 858-4549176, lajolla.thecomedystore.com

HSacred Geometry for a Profane Existence at Helmuth Projects, 1827 Fifth Ave., Downtown. Matthew Bradley’s new collection of sculptural objects and video works attempts to investigate conspiracy theories. Opening from 6 to 10 p.m. Saturday, March 1. 619-265-6842,

HHarland Williams at American Comedy Co., 818 B Sixth Ave., Downtown.

The stand-up vet has a huge following for his outlandish sketch comedy routines, but most people will remember him for his roles in movies like Dumb & Dumber,

There’s Something About Mary and Half Baked. At 8 p.m. Thursday, Feb. 27, and 7:30 and 9:30 p.m. Friday and Saturday, Feb. 28-March 1. $20. 619-7953858, americancomedyco.com HThe Kill Tony Tour at Comedy Store, 916 Pearl St., La Jolla. Tony Hinchcliffe and the gang from the Kill Tony podcast stop by to perform material as well as roast up-and-coming comedians who sign up to perform one minute of material. At 8 and 10:30 p.m. Friday, Feb. 28, and 6, 8 and 10:30 p.m. Saturday, March 1. $20. 858454-9176, lajolla.thecomedystore.com Claude Stewart at Comedy Palace, 8878 Clairemont Mesa Blvd., Clairemont. The Southern comedian has showcased his in-your-face, rapid-fire, madman stage style on The Tonight Show and Last Comic Standing. At 7:30 and 9:30 p.m. Friday, Feb. 28, and 6 and 8 p.m. Saturday, March 1. $20. 858-573-9067, thecomedypalace.com HDallas McLaughlin at American Comedy Co., 818 B Sixth Ave., Downtown.

McLaughlin, a writer for The Aquabats! and Yo Gabba Gabba, headlines this show featuring Greg Santos, Dan Harumi, Jimmy Callaway, Matt Warburton and Larisa Hull Yeah. At 8 p.m. Wednesday, March 5. $12. americancomedyco.com

HEALTH & WELLNESS Eco Beauty for the DIY Diva at Sew Loka Handmade Artisan Collective, 1821 Fifth Ave., Downtown. Learn how to make homemade, natural beauty products with ingredients you find at home, your local grocery store or farmer’s market. All ingredients will be provided. From 6:30 to 8:30 p.m. Tuesday, March 4. $30.

6198465030, sdcraftmonsters.com

MUSIC HFatoumata Diawara at Price Center Ballroom, UCSD, 9500 Gilman Drive, La Jolla. The Malian singer spins elements of jazz and funk into a spare yet sensual folkrock sound. At 8 p.m. Wednesday, Feb. 26. $12-$30. 858-534-8497, artpwr.com WED@7: Takae Ohnishi with Brian Chen at Conrad Prebys Music Center, UCSD campus, La Jolla. Acclaimed harpsichordist Takae Ohnishi and violist Brian Che-Yen Chen will perform Bach. At 7 p.m. Wednesday, Feb. 26. $15.50. musicweb.ucsd.edu

HShen Yun at California Center for the Arts, 340 North Escondido Blvd., Escondido. Five performances of traditional Chinese dance accompanied by a live orchestra. At 7:30 p.m. Wednesday, Feb. 26, through Saturday, March 1, and at 2 p.m. Sunday, March 2. $60-$200. 760839-4190, artcenter.org

HPaul Dresher Ensemble: Schick Machine at Mandeville Auditorium, 9500 Gilman Drive, La Jolla. UCSD faculty member and percussionist Steve Schick explores a stage filled with huge, invented instruments made by composer/instrument builder Paul Dresher, weaving whimsical stories about his childhood in Iowa together with unexpected encounters with noisemaking objects. At 8 p.m. Thursday, Feb. 27. $12-$46. 858-534-8497, artpwr.com

In Tlanextli Tlacopan at California Center for the Arts, 340 North Escondido Blvd., Escondido. Dressed in full handmade regalia, this Aztec Fire Dancer troupe incorporates live percussion and recreates the New Fire Dance Ceremony, which is performed with a live flame. At 9:30 and 11:30 a.m. Tuesday, March 4. $4. 760-839-4190, artcenter.org

HMandelring Quartet at The Auditorium at TSRI, 10640 John Jay Hopkins Dr., La Jolla. Mainly Mozart’s Spotlight Chamber Music Series continues with this renowned German chamber music ensemble, which will perform selections from Mozart, Shostakovich and Beethoven. At 6:30 p.m. Thursday, Feb. 27. $25-$55.

858-784-2666, mainlymozart.org

DANCE

FASHION Nice Guy Brand Launch at Mister Browns, 3064 University Ave., North Park.

The local brand debuts their new line of handmade clothing, bags and accessories. From 7 to 9 p.m. Thursday, Feb. 27. 619-501-8407, niceguybrand.com Solo Eyewear and Kovey Swimwear Spring Trunk Show at Graffiti Beach, 2220 Fern St., South Park. Sip complimentary beverages, shop and meet the brains behind two of SoCal’s top emerging brands as they unveil their new collections.

From 1 to 4 p.m. Saturday, March 1. 858433-0950. shopgraffitibeach.com

FOOD & DRINK Best Damn Night of the Barrels III at Downtown Johnny Brown’s, 1220 Third Ave., Downtown. Best Damn Beer Shop holds its semi-regular tasting event featuring dozens of limited edition, barrelaged brews, many of which will only be available on this night. One ticket gets 10 three-ounce tasters. From 5:30 to 8 p.m.

Saturday, March 1. $55-$65. 619-2328414, ticketsrevolution.com/barrels3 HBrewbies Festival at Bagby Beer Co., 601 South Coast Hwy., Oceanside. Enjoy handcrafted beer from all over the country including specialty pink beers from several local and regional breweries at this fifth annual beer fest benefitting the Keep A Breast Foundation. From noon to 5 p.m. Saturday, March 1. $35-$75. 760-

THEATER

840-9036, brewbies.org

HWagner’s The Ring Without Words at Copley Symphony Hall, 750 B St., Downtown. For the first time ever on the West Coast, Lorin Maazel’s voiceless concert adaptation of Richard Wagner’s “Ring of the Nibelung Cycle” will be performed by music director Jahja Ling and the San Diego Symphony. At 8 p.m. Friday and Saturday, Feb. 28-March 1, and 2 p.m. Sunday, March 2. $20-$96.

619-235-0804, sandiegosymphony.org St. Petersburg Philharmonic Orchestra at Balboa Theatre, 868 Fourth Ave., Downtown. Led by conductor Yuri Temirkanov, the internationally recognized orchestra will perform. At 8 p.m. Friday, Feb. 28. $27-$97. 619-570-1100, ljms.org The Blue Moonies and Amerikan Bear at Encinitas Library, 540 Cornish Dr., Encinitas. The Leucadia 101 After Hours concert series hosts its first rock show with local psychedelic acts Amerikan Bear and the Blue Moonies performing along with a psychedelic screen show and beers from Aztec Brewery. At 7 p.m. Friday, Feb. 28. $8-$10. ruthlesshippies.org HBeyond the Sea at Smith Recital Hall, 5500 Campanile Drive, College Area.

Part of the Converge Concert Series, the Hausmann Quartet explores chamber music inspired by exotic cultures. From 7 to 9 p.m. Friday, Feb. 28. 619-594-1692, music.sdsu.edu The Center Chorale: Carmina Burana at California Center for the Arts, 340 North Escondido Blvd., Escondido. This performance by the Center Chorale will feature Carl Orff’s “Carmina Burana,” one of the

La Jolla Playhouse deconstructs and delights Swirling within the emotional confines of a Pakistani family living in Atlanta are questions of faith, identity and love. They are profound, life-changing questions for father Afzal and his daughters, Mahwish and Zarina, and for Zarina’s husband, Muslim convert Eli. Not the least of these questions is informed by the words of the French philosopher Jacques Derrida: “The history of love, the heart of love, is divided between the who and the what.”

In Pulitzer Prize winner (for his first play, Disgraced) Ayad Akhtar’s The Who & The What, 32-year-old writer Zarina is fiercely dedicated to finding answers and spreading the truth—about the Prophet, about the women of Islam, about love. Her quest and the impact it has on those she cares about is an exceptionally beautiful one.

The Who & The What began in development as part of La Jolla Playhouse’s inaugural DNA New Works Series last year. Now it’s making its world premiere in the Playhouse’s Potiker Theatre under the helm of director Kimberly Senior. Her cast of four is first-rate: Kai Lennox as Eli, a man of generous spirit who’s torn between his newly adopted religion and the book his wife writes that deconstructs it; Bernard White as Afzal, a man full of life and love for his daughters, but bound to deep-seated religious and cultural tenets; Meera Rohit Kumbhani as younger sister Mahwish, coping with personal conflicts of her own; and Monika Jolly as Zarina, delivering a performance that in its unflinching resolve and complex sensitivity makes The Who & The What function so well on both an emotional and cerebral level.

Senior’s direction is nimble and ideally in tune with the rhythm of playwright Akhtar’s words. The play’s individual confrontations are rife with passion but never regress into shouting matches; nor do they overwhelm the love extant between sisters, between Zarina and Eli or between Zarina and her father. These personal relationships, forged in admost widely recognized musical pieces in the world. At 7 p.m. Saturday, March 1, and 3 p.m. Sunday, March 2. $15-$25.

800-988-4253, artcenter.org The Romeros at Reuben H. Fleet Science Center, 1875 El Prado, Balboa Park.

The internationally renowned “Royal Family of the Guitar” will perform classical guitar music. This is the first-ever live music concert to take place in the IMAX theater. At 7:30 p.m. Saturday, March 1. $150. 619-238-1233, rhfleet.org HGustavo Romero at Mingei International Museum, Balboa Park. The pianist will play works by Bach, Beethoven, Chopin, Ravel and Stravinsky in an intimate gallery setting. From 5:30 to 8 p.m. Sunday, March 2. $30. 619-239-0003, mingei.org HMary Barranger and Ann Hoehn at Oceanside Museum of Art, 704 Pier View Way, Oceanside. Barranger, pianist for the San Diego Symphony, will play classical piano music composed by female musicians such as Fanny Mendelssohn and Clara Schuman. Also, OMA Adult Lecture Coordinator Ann Hoehn will discuss female artists in the same era (1800-1950).

From 7 to 8:30 p.m. Tuesday, March 4. $10. 760 435-3721, oma-online.org Seabreeze Jazz Combo at Rancho San Diego Library, 11555 Via Rancho San Diego, El Cajon. The ensemble featuring members of the Navy Band Southwest

KEVIN BERNE

Meera Rohit Kumbhani (left) and Monika Jolly versity as well as happy discovery, are as vital to The Who & The What as are its universal inquiries.

May all new works nurtured in La Jolla Playhouse’s DNA series come to such satisfying fruition.

The Who & The What runs through March 9. lajollaplahouse.com

—David L. Coddon Write to davidc@sdcitybeat.com and editor@sdcitybeat.com.

OPENING Edgar & Annabel and Far Away: Ion Theatre is producing a double bill of short plays each night through March 29: Edgar & Annabel, a paranoid thriller about a couple of spies, and Far Away, a dystopian, wartime drama set in factory where hats are made for grim purposes. Opens in previews on March 1 at BLK BOX Theatre in Hillcrest. iontheatre.com Pal Joey: A musical about a scheming son-and-dance man who begins an affair with a wealthy woman in order to realize his dreams of owning a nightclub. Opens Feb. 28 at SDSU’s Don Powell Theatre. theatre.sdsu.edu

For full listings, please visit “T heater ” at sdcit ybeat.com

will perform jazz and light classics. At 6:30 p.m. Tuesday, March 4. 619-6605370, sdcl.org

8:30 to 11 p.m. Thursday, Feb. 27. $5 suggested donation. 619-284-6784, sosay weallonline.com

Christopher Dean at California Center for the Arts, 340 North Escondido Blvd., Escondido. California-based guitarist Christopher Dean performs Celtic and American folk music with his mix of fingerstyle and flat picking traditions performed on six- and 12-string guitars. At 1, 4 and 7 p.m. Wednesday, March 5. 800-9884253, artcenter.org

HThe Gates of Heck at Canvas Gallery, 1150 7th Ave., Downtown. Local visual and musical artist Perry Vasquez will perform live experimental music with video projection and animation by Aaron McFarland and Farrah Emami. At 7 p.m.

Friday, Feb. 28. $7. perryvasquez.com

Jews and Jazz at Smith Recital Hall, 5500 Campanile Drive, College Area. Hear the sounds of the ‘20s to the ‘50s, when jazz and klezmer happily intermarried. Local and national jazz musicians like Gilbert Castellanos and Norbert Stachel will perform tunes and songs from Irving Berlin, Cab Calloway, Slim and Slam to Dave Tarras with a tasty dose of improvisation on the side. From 7 to 9 p.m. Wednesday, March 5. jewishstudies.sdsu.edu

PERFORMANCE VAMP: Dirty Talk at Whistle Stop, 2236 Fern St, South Park. So Say We All’s VAMP (Video/Audio Monologue Performance) showcase is dedicated to stories about get-togethers, breakups, but all those dirty and perverted you never told your parents about. Performers include JD Burke, Laura Condi and Edward Hillard Deull. From

HAdult Puppet Cabaret at 3rdSpace, 4610 Park Blvd., University Heights.

Expect free puppet making, audience participation, heckling, cheering, and even dancing at this adult puppet show and workshop from the minds of Animal Cracker Conspiracy. From 7 to 11 p.m.

Friday, Feb. 28. $12. 619-255-3609 Show is Proof, Talk is Cheap Vol. 3 at The Dancehouse, 1466 F Street, East Village. Local hip-hop enthusiasts Poetiic and DJ Redlite host a night of rap battles, MCing, spoken word and burlesque dancing. At 6:30 p.m. Friday, Feb. 28. $7-$10. 619-322-1015 James Avery Memorial Tribute at Mandell Weiss Theatre, UCSD, La Jolla.

An afternoon of theater, live music, personal reflections and poetry readings in honor of the late actor and UCSD alumnus best known for playing Uncle Phil

CONTINUED ON PAGE 18

February 26, 2014 · San Diego CityBeat · 17

on The Fresh Price of Bel Air. At 2 p.m.

Saturday, March 1. ucsdnews.ucsd.edu HA Streetkid Named Desire at Victory Theater, 2558 Imperial St., Logan Heights. Set in New Orleans one week before Mardi Gras, this “original street opera” is the sordid tale of a haunted New Orleans brothel, a hunchback, and the magic hobo who promises to make his dreams come true. At 8 p.m. Saturday, March 1. $10. 619-236-1971, techno maniacircus.com

POETRY & SPOKEN WORD Hengam: The Moment at Forum Hall, UTC Shopping Mall, University City. Contemporary poetry from Iran coupled with

Persian classical music. At 8 p.m. Saturday, March 1. $20-$30. 858-453-2930, centerforworldmusic.org Monika Zobel at SDSU Library, 5500 Campanile Drive, College Area. Part of the Hugh C. Hyde Living Writers Series, Zobel will read some of her work. At 7 p.m. Wednesday, March 5. 619-5944991, library.sdsu.edu

POLITICS & COMMUNITY Storm Drain Stenciling Day at Skyline Hills Recreation Center, 8285 Skyline Drive, Spring Valley. Join ILACSD and Think Blue San Diego as they take to the streets of Skyline Hills to stencil a pollution prevention message above storm

drains. From 9 a.m. to noon. Sunday, March 2. 619-527-3486, cleansd.org

SPECIAL EVENTS HTower After Hours: Ireland at San Diego Museum of Man, Balboa Park. Celebrate the rich cultural heritage of Ireland with live performances of traditional music and dance, sample classic pub fare, and, of course, delight in a pint of Guinness.

From 6 to 8 p.m. Thursday, Feb. 27. $12$25. 619-239-2001, museumofman.org San Diego Bird Festival at Marina Village Conference Center, 1936 Quivira Way, Mission Beach. The San Diego Audubon Society’s 18th annual fest features expert speakers, pelagic trips and birding workshops. See website for prices

and full details. Various times.

Thursday, Feb. 27, through Sunday, March 2. 619-2221620, sandiegoaudubon.org Muscle Cars: 50 Years of American Horsepower at San Diego Automotive Museum, Balboa Park. Enjoy beer, burgers and live music while checking out some cars that go really fast as well as exhibits showcasing the history and development of these beloved automobiles.

Opening from 5:30 to 8 p.m.

Friday, Feb. 28. $15. 619-2312886, sdautomuseum.org Spring Home/Garden Show at Del Mar Fairgrounds, 2260 Jimmy Durante Blvd., Del Mar. Hundreds of exhibits of home improvement products and remodeling ideas. There will also be panels, workshops and free consultations. From 11 a.m. to 6 p.m. Friday, Feb. 28, and Saturday, March 1, and 10 a.m. to 5 p.m. Sunday, March 2. $1-$8. 858-755-1161, springhomegardenshow.com

“Lou Reed” by Bill Pierce will be on view in Pierce Williams: Reinvention, a solo show opening from 7 to 11 p.m.

Saturday, March 1, at Artlab Studios (3536 Adams Ave. in Normal Heights).

HBicycle Film Festival San Diego at Museum of Photographic Arts, Balboa Park. Two days of activities, from bicycle-themed photography shows and film screenings to beer releases and parties. See website for schedule. Friday and Saturday, Feb. 28-29. $22. 619238-8777, bicyclefilmfestival.com St. Baldrick’s Shave-a-Thon at The Commons, 901 Fourth Ave., Downtown.

Local do-gooders will shave their heads in solidarity to raise money for childhood cancer charities at this sixth annual event.

A $20 donation at the door includes complimentary appetizers, drink specials, Tshirt and raffle ticket. From noon to 4 p.m.

Saturday, March 1. $10. 619-696-8888, stbaldricks.org HCherry Blossom Festival at Japanese Friendship Garden Society, 2215 Pan American Road, Balboa Park. Enjoy 150 cherry trees in bloom, see cultural entertainment and demos, and taste authentic Japanese street food and drinks at this ninth annual event. From 10 a.m. to 4 p.m. Saturday, March 1. $5-$6. 619232-2721, niwa.org Auntie Helen’s Yard Sale at Auntie Helen’s Thrift Store, 4127 30th St., North Park Fill a bag for $2. From 10 a.m. to 4 p.m. Saturday, March 1. 619-584-8438, auntiehelens.org An Evening With the Stars at Bar West, 959 Hornblend St., Pacific Beach.

A black-tie-optional Oscar viewing party with proceeds benefitting MiraCosta College’s Resources & Assistance for Former Foster Youth programs. From 5 to 9 p.m.

Sunday, March 2. $25-$30. 619-5449704, jlsd.org HBacchus Night Block Party at Urban Solace, 3823 30th St., North Park. A Mardi Gras-themed block party that includes bands, drinks and food tastings at three different venues (Urban Solace, True North and Bar Pink). There will also be a small parade, bead throwing and a Mardi Gras costume contest. At 5 p.m. Sunday, March 2. $40. 619-295-6464, bacchusnightnorthpark.brownpapertickets.com HHillcrest Fat Tuesday at University Ave. between 10th Avenue and Herbert Street in Hillcrest. The largest LGBT Fat Tuesday celebration in San Diego, the night kicks off with an outrageous masquerade parade at 6 p.m. followed by a carnival-themed block party featuring DJs, live performances and an outdoor night club. From 6 to 11 p.m. Tuesday, March 4. $20-$75. 619-299-3330, Hill-

18 · San Diego CityBeat · February 26, 2014

crestFatTuesday.com HGaslamp Mardi Gras at Gaslamp Quarter, Downtown. The second largest Mardi Gras celebration in the nation, Fifth Avenue transforms into an epic carnival fest featuring five stages of music, masks, floats, stilt walkers, dancing and beads, beads and more beads. From 5 p.m. to 2 a.m. Tuesday, March 4. $30-$75. 619944-8900, sdmardigras.com

TALKS & DISCUSSIONS HOpera Insight Series: A Masked Ball at New Central Library, 330 Park Blvd., East Village. One of San Diego’s most prominent musical scholars, Dr. Ron Shaheen, discusses Giuseppe Verdi’s A Masked Ball and provides historical background and information about the composer and opera. At 3 p.m. Thursday, Feb. 27. 619-236-5800, sdopera.com Dr. Jenn Gunsaullus at Pacific College of Oriental Medicine, 7445 Mission Valley Road, Mission Valley. Part of Pacific College’s love-focused Pop!TALK series, Dr. Jenn will address what makes dating in today’s world different with tests on sexual compatibility, understanding your strengths and weakness and more. From 6:30 to 8 p.m. Friday, Feb. 28. $5-$10.

619-574-6909 x116. pacificcollege.edu HEisner Week Lecture: Neil Kendricks at SDSU Library, 5500 Campanile Drive, College Area. To celebrate legendary graphic novelist Will Eisner, filmmaker Neil Kendricks will present a lecture titled “A Comic-Book Odyssey: Through the Paper Menagerie of Graphic Narrative to ‘Comics Are Everywhere’ Then Back Again.” At 2 p.m. Tuesday, March 4.

619-594-6875, library.sdsu.edu/comicarts Francesco Lipari at Woodbury School of Architecture, 2212 Main St., Barrio Logan.

The Sicilian architect based in Rome will discuss his firm’s design methodology and how it attempts to investigate the intersection of design, cities and their future.

At 6:30 p.m. Tuesday, March 4. 619-2352900, architecture.woodbury.edu

For full listings,

please visit “E vents” at sdcit yb eat.com

KINSEE MORLAN

In search of

sight& sound Photographer Daniel Peña slows his roll and catches magical musical moments

by Kinsee Morlan

D

aniel Peña doesn’t have a smart phone. It’s one of the things that make him seem immune to the rest of the world’s jittery, digitally driven speed. Peña moves at his own unhurried pace. Often with is Nikon FE in hand, he’s economical with his shots, only clicking his vintage film camera when he thinks there’s something special. A roll of film will sometimes spend weeks in his camera before it’s ready to be developed.

The tactic is worlds away from digital photography, where a hundred shots are fired off in just a few seconds. It’s not that Peña knocks digital photography; he’s just not into it. Still, he thinks the massive uploading of digital photos to social sites like Instagram and Facebook is a good thing.

“It makes photographers like me work a little harder, you know?” he quietly mumbles, strolling down a dusty Tijuana alleyway toward his home. “Everybody has access to a camera now. That’s why I’m trying to do things a little differently.”

The 25-year-old lives alone in an apartment in Mariposa, a livework artist enclave literally steps away from the United StatesMexico border fence. Across the street is Casa del Túnel: Centro de Arte y Cultura en Tijuana, the site of a former drug tunnel transformed into an art gallery and event space that’s currently operated by the Balboa Park-

based WorldBeat Cultural Center. Like countless photographers before him, Peña’s photographed the nearby white car riddled with bullets—a permanent art installation that sits in front of Casa del Túnel. But because of his use of film, his skill for capturing the right kind of light and his penchant for leaving in unexpected surprises like flecks of dust on his negative, the result is unique. In Peña’s photo, the car looks like it’s floating in thin air and the white specks on the print add to the ghostly effect.

“I don’t like to edit too much,” he says. “I like to keep it what it is. I don’t like to turn it into a completely different image.”

The fuzzy, gritty, raw quality of film serves Peña well, especially for his shots of Tijuana, which are increasing now that he lives there. Five months ago, the young photographer finally mustered the courage to move out of his parents’ home in Chula Vista.

When his parents, who are natives of Mexico, found out he was moving south of the border, they were shocked.

“They were like, ‘What? Why would you go to Tijuana?’” he laughs.

But the work that’s been appearing on his website (penafilm. com) and more frequently on his Tumblr blog (penafilm.tumblr. com) since his move answers his parents’ question. The chaotic and

colorful city inspires him. Before the move, he used to cross regularly and wander around Tijuana with a camera as his only companion.

On a recent Tuesday afternoon, Peña ventured out to add a few shots to his Sight & Sound series, which features photos of street musicians that he shoots with film, develops into prints then scans and posts to his website. Under each photo, he includes a digital audio recording of the music being played while he’s shooting the photos. The added layer of audio has a unique effect that’s somehow more compelling and moving than if he were to simply combine the two elements in video form.

“See, I think there’s a guy by the bridge, but I can’t tell,” Peña says, walking toward the border crossing and squinting into the bright afternoon sun as he points at an underpass near the Sentri lane, where people with cards and clearance line up for faster entry into the United States. “Usually, street musicians are here when there’s a long line of cars. It’s not too busy today, so we’ll see.”

Sure enough, in the shadow of the underpass sits a white-haired man with a beautiful handmade guitar. Peña uses his workable Spanish and timidly asks the man for his permission to take his photo and record some of his music using a small handheld digital device. After Peña drops some

money into the guitar case, the man happily starts strumming.

The introverted photographer hangs back and starts by shooting from a distance. He slowly works his way closer to his subject and, after a handful of clicks, is eventually satisfied with his shots. He thanks the man and moves on.

The soulful singing of an old woman spills out from the center of Parque Teniente Guerrero, a small community park in downtown Tijuana. People fill the benches surrounding the gazebo in the middle of the park where the woman performs. Again, Peña snaps a few shots from afar and eventually works his way in and shoots a few more before the old woman wraps up her set and hands the microphone to the famed “El Muerto de Tijuana” street performer, an old goth man whose original rock music laid over electronic keyboard beats is clearly a crowd favorite. After a few songs, Peña gets his shot and then sits back to take in the show.

“Things are always changing, you know?” he says later as he navigates Tijuana’s bustling streets, trying hard to put the motivation behind his analog-photography obsession into a few simple words.

“Everything is just a moment in history and then it’s gone…. I’m making it stand still.”

Write to kinseem@sdcitybeat.com and editor@sdcitybeat.com.

February 26, 2014 · San Diego CityBeat · 19

Kinsee Morlan

Seen Local Goodbye, Barrio Logan Voz Alta Project is more than just a brick-and-mortar gallery and event space—that’s the main point Carlos Beltran wants to get across. He’s sipping a cup of tea at Cafe Moto and discussing the impending closure of the grassroots arts organization’s location at 1754 National Ave. in Barrio Logan.

“We just need change,” says Beltran, who runs the space with the help of volunteers. “And [making] rent has always been hard.”

Beltran says there are plans to reopen the gallery in Tijuana or, eventually, at another location in San Diego. For now, though, Voz Alta will continue as a roving arts group, popping up in various existing venues (CityBeat plans to follow up soon with specifics in an in-depth feature).

Voz Alta has always had an itinerant existence—it’s moved to several different spots since it opened in 2002, first appearing at a location near Ninth and E streets in East Village.

When construction on Petco Park began, the arts organization moved because of increasing rent and parking issues, eventually reopening at 15th and Broadway. But, it wasn’t long before that space was bulldozed to make way for San Diego City College’s expansion. After a few months without a home, Voz Alta reopened in October 2008, this time in a cozy Barrio Logan space.

The organization’s logo depicts a house with arms and legs carrying a handkerchief on a stick, hobostyle, Beltran points out. Since its inception, Voz Alta’s been less about a physical space and more about

Carlos Beltran at Voz Alta Project Gallery a movement powered by folks dedicated to providing a platform for underground artists, especially, but not exclusively, those with Chicano roots.

Stephanie de la Torre, a former Voz Alta program director who, alongside the Taco Shop Poets and others, helped found Voz Alta, says she understands why Beltran is calling it quits at the current location.

“It’s not easy running a space, and especially with rent and Barrio Logan changing so quickly,” De la Torre says. “Deciding to take the project elsewhere, I think it’s good. It’ll allow San Diego artists to show elsewhere, even outside the city.”

—Kinsee Morlan Aaron McFarland

Hell in San Diego Down the dark, creaky stairway leading to Canvas Gallery (1150 Seventh Ave., Downtown) sits artist and Southwestern College arts professor Perry Vasquez.

Clad mostly in black, Vasquez quietly strums his guitar and performs a spoken-word piece as wild, fiery images dance across a wall of projection screens behind him. Multimedia producer Aaron McFarland stands behind a piece of video equipment that allows him to mix his own original animation with other video, including a live feed coming from two remote cameras inside the gallery. Meanwhile, Canvas Gallery owner and curator Dan Allen hangs two large, black-velvet curtains to cover the remaining white gallery walls.

Welcome to hell—or at least an artistic vision of it. Vasquez, McFarland and Allen are prepping for “The Gates of Heck,” a performance that’ll come to life inside the grungy basement-turned-cuttingedge-art-space at 7 p.m. Friday, Feb. 28.

Vasquez, a printmaker (part of the duo behind the ubiquitous “Keep on Crossin’” poster of a Mexican man happily stepping over the U.S.-Mexico border), painter and performance artist, began envisioning his new multimedia piece years ago. During the two years it took him to finish his epic painting, “Gates of Heck”—currently on view at Mesa College Art Gallery through Feb. 27—Vasquez would often stand back, stare at the composition and sort of mindlessly play his guitar as he tried to figure out what to do next.

The painting depicts a version of Rodin’s “The Gates of Hell,” a large-scale bronze sculpture that contains scenes from Dante’s “Inferno.” In Vasquez’s version, the characters are replaced by comic-book heroes

20 · San Diego CityBeat · February 26, 2014

Perry Vasquez and villains. Before Vasquez felt he could complete the painting, though, he went back and read “Inferno.”

“The poetry, the language, the Medieval rhetoric and the Christian iconography completely swept me away,” he says. “I fell hook, line and sinker for it.”

The reading inspired him to write “The Gates of Heck” songs and spoken-word pieces during those moments when he stepped back from his work.

While some of those pieces are obviously influenced by “Inferno,” others reimagine the U.S.-Mexico border as a real-world hell.

A version of the performance was put on at the San Diego Museum of Art last summer, but the new piece is more polished.

“Last time, we really just run-and-gunned it,” McFarland says. “For this one, we were really able to nest in and do it well.”

—Kinsee Morlan Write to kinseem@sdcitybeat.com and editor@sdcitybeat.com.

Masochist’s delight Pain means believing the Oscars will get it right

by Glenn Heath Jr. Once upon a time, I thought the Academy Awards was everything. Each annual ceremony brought a new gauntlet of strategy, prediction and anticipation. I celebrated like it was my birthday when Entertainment Weekly’s Awards Edition arrived in the mail. In my downtime, I’d study past winners and nominees, logging and archiving and memorizing titles Will deserving director Alfonso Cuarón win for Gravity? as if they were part of a great religious scripture. If not perfect, I felt in my heart that the But, alas, none of those scenarios came to fruition.

Oscars were sacred somehow, a majestic coronation This started out as a prediction piece, so maybe I founded on high esteem and respect. should actually take a stab at some predictions. But On March 21, 1999, this feeling of unflinching loy- there will be a few caveats. As Matthew McConalty disappeared forever. When Shakespeare in Love aughey accepts his Best Actor Oscar for the panderdefeated my beloved Saving Private Ryan (a film that ing and brutish Dallas Buyers Club on Sunday, March absolutely changed my perception of movie violence) 2, his fascinating True Detective character Rust Cohle for Best Picture, I felt betrayed. There I was, a 17-year- will be unloading a storm of philosophical fury while old cinephile hosting an Oscar party for my friends, trying to solve what seems to be a never-ending shocked that all my surefire predictions had been sud- string of murders on HBO’s best television show in denly trumped by a goddamn revisionist melodrama. years. This is the McConaughey performance we’ll It was on this fateful night that I realized a core truth: be talking about long after his turn as a racist selfThat bald-headed, gold bastard was pure trouble, and righteous rodeo hand with HIV is long forgotten. believing in his value was a masochist’s delight.

As previously mentioned, Blanchett looks to be Part of the problem was my naïveté. The Oscars a lock for Best Actress, and that sounds about right have been disappointing people for years, especially considering hers is a titanic role of self-deception those who express interest in films residing outside and depression. The less said about Jared Leto the the small box of the mainstream. But with the advent better, but he looks to be a lock for his flashy method of the Internet and social media, the entire Academy turn in Dallas Buyers Club (Oscar disappointment Awards experience has become even more boring incarnate). Supporting actress is a bit more of a crapand trite. Studios begin campaigning for their films shoot, although I truly believe justice will prevail and in Septemeber at high-profile film festivals like Tel- Lupita Nyong’o (12 Years a Slave) will defeat Jennifer luride and Toronto and don’t stop until March. It’s Lawrence (American Hustle). an exhausting media cycle, one that makes plenty of Speaking of American Hustle, David O. Russell’s online Oscar bloggers look like fools more than once scatter-brained Scorsese rip-off, it seems destined to a year with their flipflopping. ride a wave of momentum to a Best Picture win. KnowThis year’s Oscar gambit has been especially seedy. ing my luck, it will defeat far worthier opponents like The whole Woody Allen vs. Mia Farrow throwdown The Wolf of Wall Street, Gravity and 12 Years a Slave. has been a black eye for Cate Blanchett, although she Still, after all these years, I’m throwing my purest still looks to be the favorite in the Best Actress cat- hopes into one particular race: Best Director. If Alegory for her viperous turn in Blue Jasmine. Throw fonso Cuarón (Gravity) can become the first Latino in the various kerfuffles over The Wolf of Wall Street’s to win the award, it will be a historic moment, an suspected glorification of stock-trader debauchery honor worthy of his virtuoso space adventure that is and you’ve got enough hifalutin posturing to turn so much more than a visual-effects spectacle. even Oscar’s greatest allies soft in the head.

I’m sure disappointment awaits me, but despite Even worse, this year’s nominees are all relatively my varnished opinion of Oscar, I still hold out hope safe. I had hoped Oscar Isaac (Inside Llewyn Davis) they might get it right. Truly a fool’s errand. or Adèle Exarchopoulos (Blue is the Warmest Color) would sneak into the acting categories to spice things Write to glennh@sdcitybeat.com up, or, at the very least, James Franco (Spring Breakers). and editor@sdcitybeat.com.

Stranger than fiction

Karama Has No Walls

Oscar will be on many people’s minds this weekend, including the various filmmakers behind the five short documentaries vying for the gold statuette. But the importance of these diverse entries goes beyond any award.

You can feel it in the vitality of the stories and the urgency of their themes.

All five will be screened in San Diego as part of the Oscar-Nominated Short Films 2014—Documentary program, which opens Friday, Feb. 28, at the Ken Cinema.

The Lady in Number 6 is a lovely and striking portrait of Alice Sommer, a remarkable woman who still plays the piano daily at

CONTINUED ON PAGE 22 February 26, 2014 · San Diego CityBeat · 21

age 109. She’s also the world’s oldest Holocaust survivor. The film melds past and present, trauma and joy in an almost seamless way to explore the complicated nature of memory and forgiveness.

Another short that addresses the lingering presence of violence and necessity of reconciliation is Facing Fear, which documents the incalculably strange relationship between Jason Boger and Timothy Zaal, victim and perpetrator of a hate crime in the 1980s who meet two decades later by accident. While not revolutionary, it does provide a balanced account of a devastating moment that sent two angry young men down different paths.

Harrowing in a different way,

Karama Has No Walls uses found footage and interviews to construct the terrifying events that occurred in Sana’a, Yemen, in early 2011 and helped spur the Arab Spring. After gathering in Change Square and peacefully rallying against the government’s longstanding autocratic rule, protesters were fired upon by security forces and politically motivated militia groups, leaving more than 50 dead. Only the sobering tears of fathers recounting their final conversations with their deceased sons match the immediacy of the images.

Also included in the program are Prison Terminal: The Last Days of Private Jack Hall and CaveDigger.

Opening

Welcome to Yesterday: Yet another found-footage film, this time involving a group of teens who construct a time machine and make the mistake of using it.

Oscar-Nominated Short Documentaries: See all five of the films nominated in the Short Documentary category before the Academy Awards airs on Sunday, March 2. Screens at the Ken Cinema.

Bicycle Film Festival: Bicycle-themed short films will screen during this two-day festival, Feb. 28 and March 1, amid other activities. Find details on Page 16.

Hidden Moon: In this romantic comedy from Mexico, a beautiful woman (Ana Serradilla) makes a dramatic appearance at the funeral of a wealthy Southern California patriarch, forcing his son (Wes Bentley) to travel south of the border to investigate. Screens through March 6 at Digital Gym Cinema in North Park.

Jimmy P: Benicio del Toro stars as Jimmy Picard, a Native American Blackfoot who’s diagnosed as a schizophrenic by his military doctors. When a French anthropologist (Mathieu Amalric) is called in to begin psychotherapy sessions with Jimmy, the two men forge a bond that allows them both to heal. Screens through March 6 at Digital Gym Cinema in North Park.

Non-Stop: Liam Neeson’s seasoned air marshal deals with a series of mysterious threats aboard a transatlantic flight.

Son of God: Jesus, another biopic.

Walking the Camino: Six Ways to Santiago: Documentary that follows the stories of various pilgrims as they attempt to cross Chile on foot. Screens at Reading Gaslamp Cinemas.

—Glenn Heath Jr.

One Time Only In a World…: Lake Bell wrote, directed and stars in this indie film about a voiceover coach who finds herself competing against her arrogant father for a movie-trailer gig. Screens at 6 p.m. Wednesday, Feb. 26, at the Mission Valley Public Library.

American Winter: Documentary about the economic disparity in modern America, specifically the divide between those who suffer daily due to a lack of basic necessities and those who live oblivious to these realities. Screens at 6:30 p.m.

Wednesday, Feb. 26, at the Women’s Museum of California in Point Loma’s Liberty Station.

How to Lose a Guy in 10 Days: Kate Hudson was once a big star. Movies like this prove why she isn’t anymore.

Screens at 8 p.m. Wednesday, Feb. 26, at The Pearl Hotel in Point Loma.

Indiana Jones and the Temple of Doom: The film that spawned the PG13 rating is also one of Steven Spielberg’s most maligned films. But how can you hate a film that has a character named Short Round and a dinner scene with monkey brains? Screens at 8 p.m.

Wednesday, Feb. 26 at Arclight La Jolla.

Journey to the West: Conquering the Demons: Brilliant genre filmmaker

Stephen Chow (Shaolin Soccer, Kung Fu Hustle) returns with another revisionist tale of the Chinese epic with demon hunters, ghouls and plenty of high-octane hilarity.

Screens at 6:30 p.m. Thursday, Feb. 27, at the UltraStar Mission Valley Cinemas at Hazard Center.

Gravity: Sandra Bullock gets lost in space in Alfonso Cuarón’s thrilling bigbudget adventure film. Screens at 8 p.m.

Friday, Feb. 28, and Saturday, March 1, at Cinema Under the Stars in Mission Hills.

Almost Human: The supernatural disappearance of a young man leads to a string of grisly murders and the awakening of an evil spirit. Screens at 10 p.m. Friday, Feb. 28, and Saturday, March 1, at Digital Gym Cinema in North Park.

Garageland: Local filmmaker Eric Rife’s documentary takes viewers on a tour of San Diego’s underground punk-rock scene from the 1970s to the mid-1990s. Screens at 6:30 p.m. Monday, March 3, at the San Diego Public Library in East Village.

Circles: A single tragedy affects five people in different ways, leading each down a road of self-discovery. Screens at 6 p.m.

Tuesday, March 4, at the Point Loma Public Library.

Honor Diaries: Gender equality is the goal of this documentary featuring interviews with nine human-rights advocates who discuss the problems plaguing women in Muslim-majority societies. Screens at 6:30 p.m. Tuesday, March 4, at the USD Peace and Justice Theatre.

Bottle Rocket: Wes Anderson’s debut film introduced the world to Luke and Owen Wilson as two parts of a robbing trio attempting to pull off one last job.

Screens at 9 p.m. Tuesday, March 4, at Digital Gym Cinema in North Park.

Tommy Boy: The genius of Chris Farley is readily apparent in this, his feature film debut about a man-child who must save his father’s auto parts store by going on a Midwest sales trip with a nebbish associate (David Spade). Screens at 8 p.m.

Wednesday, March 5, at The Pearl Hotel in Point Loma.

Rushmore: Jason Schwartzman’s Max Fisher roams the hallways of Rushmore preparatory school looking for distractions from life’s painful realities. Wes Anderson’s sophomore feature is a hilarious and resonant portrait of misguided brilliance.

Screens at 9 p.m. Wednesday, March 5, at Digital Gym Cinema in North Park.

Now Playing Aftermath: Two Polish brothers attempt to reveal a conspiracy among the residents of their small village, where their Jewish neighbors were massacred during World War II. Ends Feb. 27 at Digital Gym Cinema in North Park.

Barefoot: The outcast of a wealthy family befriends a psychiatric patient who was raised in isolation her entire life and decides it’s a good idea to take her home to Mom and Dad. Hilarity ensues. Screens at Reading Gaslamp Cinemas.

In Secret: Set in 1860s Paris, this intense melodrama stars Elizabeth Olson as a sexually repressed young woman trapped in a loveless marriage who finds hope in an illicit affair with a family friend.

For a complete listing of movies, please see “F ilm S creenings” at sdcit yb eat.com under the “E vents” tab.

22 · San Diego CityBeat · February 26, 2014

Jeff Corrigan

Local Music issue

King of the weirdos The remarkable rebirth of oddball musician Gary Wilson

by Peter Holslin

I

f you’ve ever harbored a hopeless crush, Gary Wilson can relate. In the 1970s, growing up in the small town of Endicott, N.Y., he was once obsessed with a beautiful schoolmate named Linda. Though they never officially went steady—her attention was focused on other boys—he’d often find himself strolling by her house late at night, overcome with desire.

“I wasn’t a stalker, but there was some anguish,” recalls the 60-year-old musician, who now

lives alone—save for his dog, Shadow, and a caged finch named Little Bird—in a dusty, one-bedroom apartment in Hillcrest. “I was in love with her.”

All these years later, Wilson hasn’t forgotten about Linda. Nor has he forgotten about Karen, Lisa, Cindy, Sandy or Mary—nor any of the other girls to whom he regularly pays tribute in his lo-fi lounge tunes. Whether real or fictional, these ladies occupy a soft corner of Wilson’s heart.

For some guys—the awkward,

sensitive, arty or weird—it’s easier to worship a girl than it is to talk to her. In his music, Wilson is just that kind of guy. Since his first major album, 1977’s You Think You Really Know Me, he’s plied the lonely avenues of romantic fantasy, exploring youthful heartache and desire with all the vigor of a veteran weirdo provocateur.

Wilson’s live shows—he’s been known to incorporate bizarre costumes, sexy mannequins and messy onstage antics involving bags of flour and other unlikely items—freak out the squares and inspire the freaks in equal measure. And his music, an infectious mix of cheeseball keyboard grooves and avant-garde noise, suggests that even the most idealized facets of American society

have a seedy underbelly.

“I think it’s music for loners or outsiders,” says Mindy Solis, coowner of local label Rita Records, which last week put out a twosong 7-inch by Wilson. “He’s one of the very few people I’ve ever met who’s true to himself and has constructed this image of himself that’s awesome, and [he] just goes with it without fear.”

Wilson, who’s short and lowkey with a faint New York accent, likes to maintain his privacy. But if he’s a loner, he’s one of the most popular loners around. When his album Electric Endicott came out in 2011, he celebrated by performing with The Roots on Late Night with Jimmy Fallon. Last month, he traveled to New York City to play two sold-out shows with R. Stevie Moore, a 62-yearold songwriter also known for his quirky jams.

For one of those shows, Wilson played with his band, a revolving cast of characters known as The Blind Dates. For the other, he did an improvised noise set dubbed “Gary Saw Linda Last Night Kissing John Cage,” which culminated with him lying on the floor covered in duct tape, a microphone stuck to his body, the audience stunned in silence.

“I made my way to the grand piano, ripped myself off the floor and hit two clusters on the piano, and then made my way out through the back door…. All you could hear was the microphone that was taped to my body, with the duct-tape going krhklhk,” Wilson recalls on a recent Friday afternoon, lounging on a couch in his trademark getup—a ratty grey wig and women’s cateye sunglasses.

In a way, Wilson is the same musical madman he was nearly 40 years ago, when he holed up in his dad’s clammy cellar to write and record You Think You Really Know Me. Mixing Steely Dan-tinged synth-funk with Cage-ian experimentalism, the album is playful and quirky. But there’s also a layer of dark emotion: “Sometimes I wish I was dead,” Wilson chokes out in the stunning track “Loneliness” while encircled in a fog of atonal electronics and strangled horns.

In recent years, both Beck and Roots drummer ?uestlove have given Wilson the thumbs-up.

Back in the ’70s, though, the music industry wasn’t so welcoming. After finding no success trying to get a record deal in New York and Los Angeles, Wilson moved with The Blind Dates to San Diego, where their music fell

on deaf ears. Even the wild guys in The Penetrators—the legendary San Diego band known for its provocative punk antics—didn’t like Wilson and his crew.

“They thought they were cooler than us,” Wilson says.

Wilson kept making art and music in the ’80s, but his wider career aspirations fizzled. In the ’90s, he started playing keyboards as a sideman for local lounge singer Donnie Finnell (he still plays with Finnell today, stretching out his traditional side). Meanwhile, he worked low-wage jobs, eventually winding up on the night shift at the Jolar Cinema, a sex shop and peep show in City Heights, where he worked for more than a decade.

In 2002, Wilson’s weird side finally saw success when New York label Motel Records tracked him down and reissued You Think You Really Know Me. In the years since, he’s released five more albums. A new one, Alone with Gary Wilson, is set to come out on Sub-Bombin Records this year. True to form, he continues serenading the usual ladies with whimsical tracks like “Chromium Clown.”

Still, for all the girls Wilson sings about today, none of them compare with the true love of his life—Bernadette Allen, an artist whose colorful, phantasmagoric, sometimes-unsettling visual style matched Wilson’s aesthetics perfectly. The two met at one of Wilson’s shows in 1978, and they quickly became partners in both life and art. Sadly, Allen died a few years ago.

“We were together for 32 years,” Wilson says. “I miss her dearly.”

And his original high-school crush, Linda? Wilson says they’ve been in touch in recent years, but it’s nothing romantic. She’s married now, and regardless, Wilson doesn’t sing about girls because he’s lonely or obsessed. Partly, he says, it’s out of nostalgia for his childhood. But there’s a conceptual component, too.

“I always felt a little unsatisfied, even during most of my avant-garde shows. Even when I’d go see John Cage shows sometimes in New York… I always thought, They need a teen idol in front of a John Cage show,” he says. “And maybe that’s what I’ve turned into.”

The normal kids have One Direction and Taylor Swift. But the weirdoes? We’ve got Gary Wilson.

Write to editor@sdcitybeat.com.

February 26, 2014 · San Diego CityBeat · 23

j.dixx photography

Local Music issue

From left: Rutger Rosenborg, Ryan Miller, Cameron Wilson and Michaela Wilson

If it feels good, do it Reinvention is key for indie-pop group Ed Ghost Tucker

by Jeff Terich

O

n a January afternoon, after practice in his band’s rehearsal space in La Mesa, Ed Ghost Tucker guitarist Rutger Rosenborg dispenses a key principle for how he approaches the band’s music: “I always say, ‘Don’t think about it.’”

He’s speaking specifically about the melodies and arrangements themselves. “Just do what your body is feeling,” he elaborates, noting that it’s better to trust intuition than analyze the music too much.

Even outside of songwriting, going with the flow has treated the band to some memorable experiences and given them some good stories to tell. One of their earliest and most curiously matched shows found them opening for pop-punk band and onetime Demi Lovato collaborators We the Kings before a full house in the 1,700-seat Memo-

24 · San Diego CityBeat · February 26, 2014

rial Auditorium at Stanford University.

By contrast, their first official gig at The Turquoise in Pacific Beach in August 2012 was a much more low-key event.

But there was an interesting catch: They had to perform a four-hour set despite not having four hours of music ready to go. With only a couple of weeks to prepare, they solidified the songs they had and learned a few albums’ worth of covers to fill the remaining time. Unprepared as they might have felt at the time, bass player and vocalist Cameron Wilson says the show turned out to be a lot of fun—and one they say has been more profitable than most others since.

“We had a bunch of songs, but we had only fleshed out about a half-hour of material,” Wilson says. “So, we had to figure out four hours’ worth of time to fill. We were all over the place, but it was fun.”

On stage, it’s easy to see the band’s relaxed, intuitive nature play out. The four musicians lock into a fluid groove, blending varied elements like jazz, folk and pop, as well as Caribbean and African influences, into one mellifluous whole. And even in conversation at their rehearsal space,

there’s a clear sense of camaraderie.

Despite having been a band only since 2012, the members of Ed Ghost Tucker have a long history together. Keyboardist and vocalist Michaela Wilson is Cameron’s sister, and they met Rosenborg and drummer Ryan Miller in elementary school. And Miller, Rosenborg and Cameron Wilson played in a punk band called Numskull when they were teenagers.

Ed Ghost Tucker finally took shape as a five-piece after Wilson and Rosenborg traded acoustic demos back and forth while in college, with fifth member Brian Disney acting as a multi-instrumental jack-of-all-trades. Disney bowed out of the band last fall, however. They considered finding a new fifth member, but, as Michaela Wilson explains, the tight-knit nature of the quartet makes it difficult for someone new to get settled.

“There is so much history with the four of us, and we are like a big family,” she says. “So, there’s this whole foundation that a fifth member would have to be really OK with and feel comfortable coming into that. And that’s really hard to do.”

In the time that Ed Ghost Tucker have been together, their sound has undergone a continuous evolution. The acousticbased project that began between Cameron and Rutger in college? That pretty much went out the window a long time ago, though those songs still exist in a different form. Listen to the tracks on their Soundcloud page—which Michaela Wilson describes as a “time capsule”—and you’ll hear widely varied styles: dreamy pop on “Lesser Antilles,” a reverb-drenched torch song in “Devils,” folk-rock on “Swans.”

Since then, however, there have been even more developments in the group’s ongoing refinement of their sound.

Some of their recent demos find them embracing island rhythms on tracks like “The Likes of You” and more complex post-rock rhythms on “I Do.” For Ed Ghost Tucker, no song is ever truly finished, and their sound is never entirely settled in one place.

“We change a lot,” Rosenborg says. “I like the idea of reinventing constantly. I like the idea of every song being sort of different, somewhat.”

Yet, it isn’t lost on the band that so much reinvention leads to the possibility of becoming elusive to an established listener base.

“You run into the question of, ‘Will our audience connect with it because it’s so different?’” Miller says.

For now, though, that’s not high on their list of concerns. They recently wrapped up a video shoot and have hired an attorney—one of their first major steps toward turning Ed Ghost Tucker into a full-time career. But before they move to the next level, their present stage of discovery and freedom is their main focus.

“I can really appreciate this stage where nobody’s telling us not to experiment, nobody’s telling us what we sound like,” Cameron Wilson says. “It’s all our game.

“It’s just us in here.”

Write to jefft@sdcitybeat.com and editor@sdcitybeat.com.

The

Local

Music issue

Great

Demo

Review

I

of

f you read last year’s Great Demo Review, you probably got a pretty good idea of just how overwhelming it can be to trudge through the number of submissions we get every year. Last year, we received 223 demos, the sheer weight of which very likely compromised the structural integrity of the CityBeat office. This year, our batch was a little bit more manageable: 153 demos. It’s not 223, but it’s still a lot of music.

This batch also comprises a pretty wide range of music. We still got the expected garage rockers, punks and reggae jam bands—and more than a few familiar names—but we also heard a lot of

2014

bands this year that think outside the box, with results that range from inspired to baffling. And we handled them as honestly as possible. Whatever opinions we had about these demos, we’re putting them right here on the page—tough love has always been CityBeat’s policy. But it’s not all slams and snark; we’ve singled out eight of these as “EXTRASPECIALGOOD.” Whether you agree with our assessments or not, we hope it’s at least entertaining—and that you’ll come join us at the Local Music Issue party on Friday, Feb. 28, at The Griffin.

like a record before I hear it more than the words “concept album.”

But Action Andy’s High and Lonesome won me back. Without ever settling too long on any one style or letting it get stale, Andy and his Hi-Tones (all quality players) effortlessly tell their story through vignette-laden honky-tonk, Americana, rockabilly, blues and straight-up rock ’n’ roll. actionandy andthehi-tones.bandcamp.com —Scott McDonald

The Action Figures Oh, man. I always dread having to review the inevitable “dad rock” album, and one inevitably shows up in every batch of demos. It takes a cold heart to shit on these weekend warriors and their songs about kids, mortgages and 9-to5s. I mean, there’s definitely some role-reversal charm on “Middle Age Rampage,” an AC/DC-ish tune about the struggles that come with middle-class fulfillment, but I’m not your kid or your wife, so I’m not obligated to like this.

—Ryan Bradford

Afrojazziacs

Afrojazziacs traverse an eclectic mix of Ethio-jazz, free jazz, hiphop and bossa nova in all of nine minutes. Both of the songs on this —Jeff Terich demo are great, and the playing— and recording quality—is nothing tunes complete with rich, full- @nd +h!n,” the album’s closer, less than professional. It’s tough band harmonies and soft, sooth- “+wa+$k!n,” feels a bit like one to get a feel for what these guys ing vocals reminiscent of Iron & of Ween’s throwaway, weird-for- are truly about from just these two The Natalie Rose Demo Wine’s Sam Beam. Ditch the name the-sake-of-weird songs. 7hunder songs, but I would love to hear and the tired coffeehouse shtick— cun7.bandcamp.com more. facebook.com/afrojazziacs This hip-hop vet rarely lets me then make the vocalist in the first —Ryan Bradford down, and this four-song mixtape —Jackson Milgaten two songs the full-time singer (that literally came in on a cassette and release a record. I’d buy it. tape) was no different. Packed 16sparrowsmusic.com with dense lyricism (“Popular —Dustin Lothspeich 4-Song Demo Demo Opposites”) and beats that made Some old dudes got together to Look, I have to listen to enough me wish I had one of those woofbang out snotty NOFX-style punk white-boy reggae just living in San ers that make your trunk rattle rock—so, basically, they’re the ’00s Diego and, by now, I consider my(“H.D.”), here’s hoping he gets III equivalent of a run-o’-the-mill self an expert in guys who look like it up online, as well, so the rest 7hundercun7’s music is like when classic-rock cover band. There’s Adam Duritz singing about how of the scene can hear it. 10-19the a dream becomes a nightmare— nothing memorable about highgood vibes (and good weed) are numberman.bandcamp.com underneath the thin sheen of pop speed jams like “Token Asshole” or —Seth Combs lie disembodied voices, ominous “Good Morning You’re Dead,” but helping them overcome their, um, struggle. AK has a decent-enough effects and pitch-shifted sounds if one of these guys were my dad, voice, but I’d tell him not to quit that would make David Lynch sure, I’d be down. Beats another his day job if there weren’t already smile. Upon first listen, these per- ungodly rendition of “Hotel Calia song about how he can’t get one EP verted children’s songs are ex- fornia.” thea-bortz.bandcamp.com (“No Work for Hire”), in which Frankly, it’s a struggle to be enthutremely off-putting—similar to the —Peter Holslin he somehow manages to rhyme siastic about 16 Sparrows: Their effect of Disneyland’s It’s a Small “eat” with “eat.” #brilliant. lifted band name is about as apatheticWorld ride—but there are sinismuzikrecordings.bandcamp.com sounding as it gets, the songs aren’t ter moments of brilliance that are terribly dynamic and the last half —Seth Combs undeniable. The band’s ability to of the record is lyrically clumsy, make skin crawl with their sound sung flat and devoid of any kind of High and Lonesome: alone is admirable, and not easy inspired style. However, the first The Fall and Rise to do. However, after the eighttwo songs, “Neptune” and “Put of Hilo minute hell ride of “+hru +h!ck ’m Up,” are beautiful, melodic folk Nothing predisposes me to dis- Where Does

10-19 the Numberman

The A-Bortz

AK

7hundercun7

16 Sparrows

Action Andy and the Hi-Tones

Amateur Pool Party

Oh, no. Not Amateur Pool Party.

Anything but Amateur Pool Party.

The music, it just keeps going.

Crummy guitar noodling. Aimless lounge jamming. Cheapo keyboards. Some weird guy “singing.”

The second song went on for 12 minutes. There are 10 tracks total.

It. Never. Stops.

—Peter Holslin

Apoc & Brendan B Three Song Demo

Demo

Demo

the Time Go?

Beats, rhymes and life stories from two very capable MCs with references to everything from Michael Jordan and the Beastie Boys to Afrika Bambaataa and Kevin Smith movies. Best track: the oh-so-smooth “So Beautiful, So Boring,” which could very well be about every girl I’ve ever encountered in the Gaslamp who, to paraphrase Brendan B, has a God-given nice ass to compensate for what she lacks upstairs. soundcloud.com/bigapoc —Seth Combs

Andrew Barrack High Off of Love EP

Andrew Barrack’s songs have that carefree island-pop feeling that Jason Mraz and Jack Johnson cornered the market on years ago. The instrumentation on its own is solid, but the vocals leave a lot to be desired. As a multi-instrumentalist, Barrack holds his own, but singing seems, for him, like a stretch, and he comes off flat on most of this EP. Nothing terribly original. soundcloud.com/ andrew-barrack —Jen Van Tieghem

Batlords Sex! Blood! Booze!

At any point in Batlords’ Sex! Blood! Booze!, they can sound like an entirely different punk band.

They pummel the listener with Minor Threat-style hardcore on “Warheads,” do catchy, Ramonesstyle power-pop on “Screwdriver” and take an abrasively melodic approach à la The Damned on “Severed Heads.” Which is to say that all of their songs are built on high-velocity, extra-fuzzy sounds, with plenty of reverence for the old school. The sound is pretty damn lo-fi, though, which generally works in your favor if you’re going for noisy and sloppy punk recordings. Then again, it’s also pretty hard on the ears, but that

CONTINUED ON PAGE 26

February 26, 2014 · San Diego CityBeat · 25

just means it’s punk rock, right? gredients to make a solid demo: soundcloud.com/batlords_sd decent recording quality, com—Jeff Terich petent musicians and the ability to maintain a 4/4 time signature.

However, we’re not in the business of rewarding mediocrity, and Empyrean Kings we get enough bar bands already This is what happens when a band that engaging with any of them uses fancy production techniques feels like a waste of time. Kind of and arena-ready arrangements in bluesy, kind of boozy, with simple place of actual emotions. For all rhymes and a prepubescent notion the fun.-aping bigness of this EP— of love and marriage (as evident chock full of sentimental piano in the song “How Does it Feel”), lines, explosive club beats and lyr- Bloody Stool Pigeons are the band ical clichés about love and war—it in every East County dive bar, all rings wretchedly hollow. Bel- playing for people on their fifth mont Lights could learn a lot from Budweiser and rocking out with a a single honest guy strumming an white man’s overbite. acoustic guitar. facebook.com/ —Ryan Bradford belmontlights

Belmont Lights

—Peter Holslin

Beta Lion Written in Sand

Beta Lion take a variety of paths to get to their downcast dream-pop; sometimes songs are built around a serpentine bass line, and others are powered by a buzzy guitar riff.

But this quartet always gets to a soaring, arena-ready chorus that often sounds like Phoenix’s popsavant brain tugging on Death Cab for Cutie’s heartstrings. (It also reminds me of the great and underappreciated Northwest pop band Aveo.) Catchy, mostly! facebook. com/betalion —Ben Salmon

Bhorelorde Introduction to the Further Perseverance

So, this fucking rocks. Despite being from a city not known for metal, Bhorelorde bring the thunder in heaping amounts. Heavily informed by the raw sludge of Melvins, High on Fire and Mastodon, Bhorelorde play a style of metal that’s meaty and heavy but doesn’t skimp on the melody. With plenty of hooks to go around, “14th & 1st” sounds like it could plow through anything in its path, all chugging power chords and soaring vocals.

Introduction to the Further Perseverance is pretty solid all around, though the drums sound a little buried in the mix, which can dilute what makes a band sound heavy. This small blemish aside, Bhorelorde pretty much wail. bhorelorde.bandcamp.com —Jeff Terich

Bloody Stool Pigeons Demo

For all intents and purposes, Bloody Stool Pigeons have the in-

high-school seniors, is still finding its voice and style. There’s no common thread tying their three singles together—each displays characteristics of different genres, and in each one, the singer sounds like a different person. “Pull Me Under” is the best attempt at rock harmony, but it still fell short. soundcloud.com/buddha-trixie

extraspecialgood

—Dita Quiñones

The Buddy System The Buddy System EP

Ed Ghost Tucker Sophia

Warm, fuzzy power-pop tunes I’ve been a fan of Ed Ghost Tucker for a while now. That said, the for adorkable indie kids. The lyrfirst time I saw them play live, I thought they had a ton of potenics are cheesy, and the melodies tial but were all over the place. They obviously draw from varied don’t stick, but these guys get a lot influences, and I felt they were trying to pay homage to all of it at of mileage just out of being total the same time. But their dedication and hard work have paid off, sweethearts—listening to this, I as they’ve honed their sound considerably. This new single is far Demo more of a synthesis than a tribute, and, as a result, it really ends Quirky, moody instrumentals can practically see the disarming up sounding more like Ed Ghost Tucker than anything else. sound that pull stylistic influences from smile on the singer’s face. Awww. cloud.com/edghosttuckerband hip-hop, trance and other various thebuddysystemhi.bandcamp.com —Peter Holslin genres. Not a ton of listenability —Jackson Milgaten here, but the disorienting feel of the tracks will definitely make you wonrock ’n’ roll band, all power chords some fucking taco punk! thechili der if you ate a few hits of 2-CB. and hammy vocal affectations— banditos.bandcamp.com —Joshua Emerson Smith the kind of band you could hear —Peter Holslin Sweet Potato Pie at any dive bar in America and Unfortunately for Charlie Bur- would feel right at home. That ton, I was raised and educated on said, they’re still just diluted fac“Tom’s Samba” electric blues by my Chicagoan similes of bands like The Stooges Lift and Cut These guys sent in one song re- father, so I’m kind of a snob about or MC5. There’s nothing wrong Electronic music meets Sublimecorded at a rehearsal space ( judg- this shit. Right off the bat, I called with that, but there’s also nothing style ska riffs with occasional ing by the sound quality, the re- shenanigans: “Shake It” is a tepid particularly memorable, either. bursts of bizarre rapping and regcording device was located in a “Oh Well” by Peter Green’s Fleet- therealcedarfire.bandcamp.com gae vocals. The band gets points closed dumpster behind the re- wood Mac, “Livin’ Without You” —Jeff Terich for innovation, though the results hearsal space) in hopes that they’d is “The Thrill is Gone,” “Your can range from clever to “Please, win the Local Music Issue “con- Number” is a lukewarm reworkfor the love of all that’s holy, make test.” Capable instrumentation, ing of the Yardbirds’ cover of it stop!” Mostly, it’s the rapping but too much unnecessary soloing “Smokestack Lightning,” “Sweet Buffalo Roam EP that needs work. chillclinton.com and, for God’s sake, there’s fucking Potato Pie” is a cheesy “Hand Maybe it’s my age. Maybe it’s my —Joshua Emerson Smith bongo playing! You lose the con- Jive,” etc. The coolest track is the nostalgia for things like Sabbath test, boys. brothersherd.com instrumental “Crackdown,” which and Kyuss and Sleep. But I dig what —Seth Combs sounds like a brisk “Got to Hurry” Chiefs are doing. And while fuzzedby the Yardbirds. Being a white out desert / stoner rock seems like II man playing the blues ain’t no the starting point here, there’s defi- This slice of watered-down rock crime, but Charlie Burton’s voice nitely some post-hardcore Quick- with a bit of metal influence doesn’t D’nelian is periwinkle at best, and while sand / Helmet influences going on, do it for me. The vocalists do their Just when you think chillwave his guitar-playing is technically on as well. Has it all been done be- best Ozzy Osbourne imperson(or glo-fi or nu-gaze or whatever point with all the right chords and fore? Sure. But Chiefs are doing it ations, but there’s not enough the hell you wanna call it) was a licks, I’m simply not feeling the well, so I’m going to pay attention. power behind them. The band genre that came and went, some blues, except in the form of Karl wearechiefs.bandcamp.com tries to ramp things up on “Fall on John Hughes-worshipping intro- Cabbage’s harmonica. Charlie —Scott McDonald Me” with a little bit of punk envert (or, in this case, two of them) needs to find a new black cat bone ergy, but the chanted lyrics sound comes out with lovely little set of (or maybe a gritty lead singer) to hollow and lack punk’s rebellious, tunes that could very well be the get his mojo workin’, ’cause it just fun spirit. The few slow, mellower score for your summertime heart- don’t work on me, and I know it tunes at the end aren’t anything to break. This 10-track album is just wouldn’t work on my Dad, either. write home about, either.

Demo on the cusp of EXTRASPECIAL- charlesburton.com —Jen Van Tieghem These guys call themselves a “taco GOOD status, filled with angsty —Diana Death punk” band. Their colorful logo deteenage anthems (mostly made picts three smiling chili peppers— from samples, voice and guitar) one in a Padres cap, the second in Hells Fire!!! with a hip-hop heart beating just a sombrero, the third in a skipper’s Hells Fire!!! is the best album Low underneath the surface. sound Stars cloud.com/bruinjams/dnelian The back cover of Cedar Fire’s hat. So why, oh why, do they play Volts never made. Nine songs of —Seth Combs Stars depicts a dot-matrix image milquetoast emo with mish-mash kick-drum stomping, gritty slideof Evel Knievel, and that’s a pretty guitars and whiny-boy lyrics about guitar and distorted vocals—this strong visual representation of boring road trips? I’m genuinely duo gets in the groove and keeps what the band sounds like. They’re confused. Did they upload the going. They don’t quite have Tim Demo more or less a meat-and-potatoes wrong mp3s or something? You say you play taco punk, so let’s hear This rock band, composed of three CONTINUED ON PAGE 28

Brooklyn G

Charles Burton Blues Band

Brothers Herd

Chill Clinton

Chiefs

The Clover Tones

BRUIN

The Chili Banditos

Cedar Fire

Buddha Trixie

26 · San Diego CityBeat · February 26, 2014

Confederales

February 26, 2014 · San Diego CityBeat · 27

Lowman’s swagger, but I doubt they’d even give a shit. I have a feeling Jimmy Dean and Richie Orduno will be just fine, content to jam on their lo-fi rockabilly blues in Ocean Beach. Key tracks: the smoldering, slow surge of “Chingon” and the fun, goofy march of “Chupa Kabra.” facebook. com/confederales

Danny and the Tramp All in

Decently produced ska-punk-pop music for youngsters to jump around to in their bedrooms. The lead singer, Danny, blows his blink-182-style pop-punk lyrics into —Dustin Lothspeich bubblegum bass lines and guitar riffs to produce an inflated sound that should appease only listeners who are content with hot air. dannyandthetramp.com

Continuous Nightmare

—Joshua Emerson Smith

Murder by Techno

Murderous this most definitely is not. It’s more like meditation music for sentient computers. The motorik electronic grooves could’ve come from converted fax machines and sampled trashcans, while the synth parts resemble the whoops and sighs of a melancholy android.

Day-Go Produce Come Ups

This rap trio has a polished, mainstream sound with lyrics that concern mostly wealth and hedonism. To wit: “Fuck a 9-to-5, and —Peter Holslin now I party all night.” The beats are tightly produced but a little cluttered. There’s not a lot of innovation here in content or style, but the group’s clearly put in a fair amount of practice time. daygoproduce.bandcamp.com Haggin Buddha Boy Court Yard Roots’ Haggin Buddha Boy —Joshua Emerson Smith sounds like it was recorded on a ghetto blaster inside a cardboard box by dudes who use phrases like “Irie” and “one love” without irony and probably have 311 mo- Blurred Vision ments on the regular. Not that this vibe Nineteen songs of weak beats, weaker is exactly consistent—“Burnem in Hell” rhymes and frat-boy-ready choruses. Wow, sounds like Beavis singing Judas Priest’s a rapper who rhymes about loving weed, “Breaking the Law,” which kind of harshes loving bitches, loving money and how great my buzz, man. So, San Diego, here’s anoth- he is at rapping—what a novel concept! It’s er awkward reggae-rap-rock band, wheth- a wonder no one’s tried that formula before. liftedmuzikrecordings.com/wp/artists-daze er you wanted one or not.

Court Yard Roots

Daze

—Seth Combs

—Jeff Terich

Criss Creamation T3 Mixtape

This album is so good that, while bumping it in my car, I sometimes forgot it was a submission to a local demo review. Oceanside’s Criss Creamation is a confident rapper with rhymes for days—offering glimpses of a hard life, he dishes out memorable lines on everything from drugs to dildos to blades to prison cells to low-wage jobs (and why he doesn’t want to work them).

His producer is no slouch, either, turning out atmospheric beats full of hypnotizing cloud-rap synths. My one complaint is that these 18 tracks are too generic, like they could’ve come from anywhere. But it’s a solid start from an MC who clearly has a lot to say. facebook.com/ccreamation1 —Peter Holslin

Deadbrokedown “Shine”

With an awkward portmanteau of a name like Deadbrokedown, I can’t say I had high hopes for “Shine,” especially when it came with a public service announcement about hopes and dreams for children and regrets and how you should always hold on to those special moments because one day they’ll be dead, or you’ll be dead, or something. Anyway, as much as I’d like to be able to get behind the sentiment, the execution—which falls somewhere between Staind and “Cat’s in the Cradle”—is about as cornball as it gets. reverbnation.com/deadbrokedown —Jeff Terich

Def Shon Hypebomb University

By looking at the front cover, I can tell “Hypebomb University” is actually SDSU, but it’s also a 23-track concept album by “How Am I Supposed rapper Def Shon. He had me early on with to Not Fall” Singer / songwriter Josh Damigo is a super- Track 2, “Turn it Up.” Its punk-rock “Fuck polished, poppy “lovesick troubadour with a you” attitude, snarled over totally rad ’80s guitar,” according to his website. The kid can keyboard, made me an instant fan, but from sing, but the arrangements and lyrics have lit- there he transforms Hypebomb U into tle soul. He’s worth keeping tabs on. If Dami- the halls of wackademia. There are too go ever decides to jettison his mainstream many Auto-Tune effects, long-ass sketchaesthetics, he has the potential to pump out a es between songs, mentions of Beyoncé, good song or two. joshdamigo.com

Josh Damigo

—Joshua Emerson Smith

28 · San Diego CityBeat · February 26, 2014

CONTINUED ON PAGE 30

February 26, 2014 · San Diego CityBeat · 29

tone-deaf attempts at harmonies and unnecessary covers. His rendering of Snoop’s “Ain’t No Fun” ain’t no fun, and you guys don’t even want to know what he did to Bobby Brown’s “My Prerogative.” Also, the back cover put my LASIK to the test with the track listing laid out in two-point font in one long-ass paragraph. Then, there’s no info about the personnel, so I have no idea whom to thank for any of the booty-controlling keyboard parts. Def Shon doesn’t make the honor roll with this CD, but he doesn’t flunk out, either; ”Turn it Up” would be great as a 12-inch vinyl single, and I would totally spin that shit. reverbnation.com/defshon —Diana Death

Jason De La Torre “You Can’t Teach an Old Dog to Be Happy”

With only one song submitted, it’s hard to get a handle on whether or not I enjoy Jason De La Torre’s music. Based on this morose, pianoladen track, I’m inclined to say yes.

With light handclaps softly plotting the beat, the song is heavily dominated by De La Torre’s clear yet somber lyrics. The song meanders a little, wearing out its welcome a bit with a five-minute-plus running time. But a sudden clip of a child’s voice and laughter near the end gives it a chilling and memorable finish. More please. soundcloud. com/jasondelatorre —Jen Van Tieghem

The Dialog Project Band

extraspecialgood

El Monte Slim If I Could Just Break Even

El Monte Slim frontman Ian Trumbull cut his teeth playing rockabilly in Michigan bars, but it makes perfect sense that he now calls California home. While Trumbull hangs his hat in San Diego, If I Could Just Break Even is clearly born of a Bakersfield heart. These 11 whiskey-soaked gems do Mr. Owens and Mr. Haggard proud. Punctuated by Joe Camacho’s stellar pedal steel, Ruben Ramos’ chugging stand-up and Paul Brewin’s nuanced drum work, this excellent quartet serves up a deliciously dusty slice of honky-tonk without filler. Equally perfect for a late-night drive down a lonely stretch of road, a two-step with yer best gal or a night of heavy lifting at the local watering hole, this is an authentic and enjoyable record that gets better with every listen. reverbnation.com/elmonteslim —Scott McDonald

only playing the hits. Oh, God, and cuts from Grease. Won’t be hiring this dude for my wedding reception. facebook.com/pages/ Dj-L/120959507975659

Dre Trav

“Hair” and the bluesy reggae-rock of “Combat.” There are glimmers of inspiration here and there, and the band’s members can play their instruments well enough, but a —Peter Holslin bit more character or personality would go a long way. downbig. bandcamp.com

Dualism

Solid hip-hop mixtape with roots in everything from J Dilla and De La Soul to Outkast and Madvillain. Anyone who follows indie Rough Demo This is quite possibly the most rap will recognize much of the epic arena-rock / gypsy /prog / instrumentals on the 15 tracks fusion circle-jerk I’ve ever heard. offered here (9th Wonder, El With ’80s reverb cranked up to 11, Huervo, Elaquent, etc.), but Dre the guitarist does his best Joe Sa- is more than capable of rhymtriani impression while the drum- ing over what’s a hugely diverse mer plays as many fills as possible selection of beats. In a small, but and the keyboardist ties it all to- underrated local hip-hop scene, gether with some moody Middle I fully expect to hear more from Eastern ornamentations. The only this guy. watstoday.com —Seth Combs thing missing? Songwriting. dialog projectband.com —Peter Holslin

DJ L Mixtape

Dude submitted six hours’ worth of DJ mixes (!), so I listened to the 37-minute “disco mix.” He can scratch, and he’s alright at using the cross-fader and spinning the same old songs in a new way, but, I mean, c’mon—he’s

30 · San Diego CityBeat · February 26, 2014

Down Big Bandana

The third song on Down Big’s foursong EP Bandana is titled “Fluf,” which at least tells me that the band’s done its San Diego alt-rock homework. And truth be told, pretty much everything on the record sounds like it could have been released in Southern California in the mid-’90s, from that song’s grungelite sounds to the dizzy jangle of

—Jeff Terich

Dropjoy 18

Dropjoy—“San Diego’s local rock group,” per their email—have some solid pieces in place. The guitar tones on this recording are good. The chord progression is pleasing to my ear. The lyrics need work, but there’s some raw angst happening here. For some reason, the lively and mildly addictive nature of “18” brings to mind an old Nirvana demo for a song called “Opinion.” I’m not saying Dropjoy are Nirvana. But they should keep at it. facebook.com/DROPJOY1 —Ben Salmon

Dr. Seahorse Go

Most of Dr. Seahorse’s six-song Go is exactly the kind of slickly produced, syrupy electro-pop that gets added by radio, played in mall dressing rooms and is

CONTINUED ON PAGE 33

February 26, 2014 · San Diego CityBeat · 31

32 · San Diego CityBeat · February 26, 2014

hand-picked for television. Singer / songwriter Trevor Davis and producer / alchemist Mark Suhonen have given themselves a legit shot at the mainstream, but (someone stop them) then comes the Genesis cover—no shit, a synth-heavy contemporizing of “That’s All.” Duuudes. reverb nation.com/drseahorse

the CD case is not. He toots his own horn as a hip-hop artist and mentions that “he often rocks a Little Richardesque hairdo with a front ponytail,” but there’s no photographic evidence to support this claim. Anyway, his sound ranges from reggae to slow jamming to mid-’90s rap, but in spite of his wordy letter, he doesn’t —Scott McDonald include a track listing with the names of the songs. Standout track: 5, for its Rick Rubin-esque rock / rap sound. facebook.com/ “Prosper” elgunlegromusic With a name like Dub Fuego, I’d —Diana Death have thought I was getting some serious roots-style dub reggae, but this is more like sing-along popreggae in the vein of UB40. This Premium Yoda guy’s got pipes and a voice that In hilariously clumsy fashion, often resembles Anthony Hamil- this upstart metal band stumbles ton, but it’s wasted on music that through gibberish guitar solos, sounds like Fisher Price: My First constipated bass rumblings and Reggae Song Made on Garage- by-the-numbers Cookie Monster growls. You can’t knock the guys Band. dubfuego.blogspot.com —Seth Combs for wanting to rock out, but you’ll hear better music coming out of Satan’s asshole.

Dub Fuego

Empirical Pi

Dunekat

What Happened

This nine-track, starry-eyed ambient instrumental album recorded on an iPhone and computer mic is unmoving as a whole. And track titles such as “Dumb,” “Happy” and “Robotalk” don’t really fit the sonic moods of the tracks. The artwork is cool, though. dunekat. bandcamp.com

—Peter Holslin

E.T.D.T. Dragon Tails

DigTheKnife —Dustin Lothspeich

Festival of Whores One Bad Haircut After Another

Half of the songs on One Bad Haircut After Another are covers, starting with a scuzzy, sleazy cover of A Flock of Seagulls’ “I Ran (So Far Away),” then a chugging pisstake of The Beatles’ “Yer Blues” and finally a machine-punk stomp through The B-52’s’ “Planet Claire.” The originals, on the other hand, include a song about Frankenstein babes and another about big-assed trailertrash honeys. Oh, and one called “She’s So Sexy.” They weren’t kidding with this Festival of Whores thing, but One Bad Haircut After Another is definitely a joke.

—Jeff Terich

Fighting with Irons “Her Hands”

“Her Hands” is a song that goes nowhere in a hurry, slowly moving along the same clean-tone guitar riff for about two minutes before much of anything else happens. And though the addition of some nifty little riffs eventually turn this six-minute ballad into something a little more interesting than the sparse dirge it started as, there’s very little here that justifies its length. Fighting with Irons seem to aim for something big and ambitious, but I can’t help but feel something’s missing. I can hear the talent, I’m just not sure this is the best use of it. fighting withirons.bandcamp.com

This band prominently lists its instrumentation in the press material as: djembe (a hand drum), lumanog (a guitar), harmonica, shakers, footcussion and keyboards— which gives you a pretty good idea —Dita Quiñones of what to expect on its 50-minute demo. What all of that translates to sounds like a mediocre recording of a jam under the Ocean Beach Demo pier. It’s kinda folky, sorta jammy, When access to recording equip- somewhat new-agey and vaguely ment becomes easier and easier, reminiscent of every classic rock and when irony saturates music, song you’ve ever heard. Some moit’s harder to tell what bands are ments do get pretty fucking weird, truly provocative and what bands though, and remind me of freak—Jeff Terich are just bad. There are moments on rock acts like Frank Zappa, Mr. El Corko’s demo where the coun- Bungle and Ween, but those are try-tinged blues and haunting vo- few and far between. reverbnation. cals feel transcendent, and the dis- com/ETDT 6 Tracks sonant guitar solos give the songs a —Jackson Milgaten Garage-rock bands are a dime a level of complexity that you won’t dozen in, well, pretty much evfind in commercial country. And ery city in the world. This is not then you realize you’re listening to an exaggeration; where there are a track called “Eatin’ Hooker Pussy 5 Songs bored teenagers and cheap pawnand Drinkin’ Beer” and it sounds 5 Songs by Exiles of Doom isn’t shop guitars, there are garagelike all the musicians are playing a exactly what I expected, based on rock bands. The Fink Bombs are different song, and you’re all, “Oh the name alone ( just goes to show one of them, though they sound wait, this isn’t provocative. These the age-old book / cover adage considerably older than teenagstill rings true), but it’s hard to de- ers and, for that matter, more guys just kind of suck.”

—Ryan Bradford scribe what it actually is. It sounds skilled and melodically colorful like Tears for Fears’ Roland Orza- than the average amateur fuzz bal fronting a scatter-brained A fiends. They certainly sound Perfect Circle. Little bits of emo, like they’ve spent plenty of time Memoirs of a Legro new wave, electro, grunge and with Here Are the Sonics!!!, but Dominique Gilbert, aka El Gun post-rock emerge now and then— they add a touch of cowpunk on Legro, lets us know from Track 1 sometimes all within the same “Writing on the Wall” and surfthat he’s all about “bills never on song—and because of that lack of- rock on “Trucker Brown,” which time, crashing at my mom’s place,” focus, the songs sound a bit clum- give them a slight edge over likebut while his funds are mea- sy. With a little editing, they could minded bands. It’s only a slight ger, the résumé folded up inside be pretty good. facebook.com/

El Corko

The Fink Bombs

Exiles of Doom

El Gun Legro

extraspecialgood Entre-P C.E.O.G.

Hip-hop has become a tired parody of itself, but Alvin Shamoun, formerly known as Entre-P and currently known as Biggie Babylon, makes the genre fresh and exciting again by telling it from the Iraqi-American perspective. He neither samples hits from the 1970s nor brags about bling; he composes his own tasty Middle Eastern-flavored riffs and spits out rhymes that don’t make me feel embarrassed for him (hello, Kanye). Every song is polished, professional and ready for radio airplay, but two in particular stood out. The first, “After Party,” has an Italo-disco bass line so twisted that it must have been born in Chernobyl, and if you can’t shake your ass to this, you have no ass at all. “Neapolitan Blunts,” however, is my new favorite jam. Here Entre-P informs us that his entrepreneurial ventures include a dispensary and that the Neapolitan is “3 different weeds and 1 Swisher Sweet.” Other thoroughly kick-ass tunes include “Quit Leechin’” and “Zombies.” I’ll definitely be keeping my ear out for his latest project, Biggie Babylon. facebook.com/biggiebabylon —Diana Death

edge, but it’ll do. reverbnation. com/thefinkbombs —Jeff Terich

Joe Flatt Coffee Break

Everything about this is bland— uninspired lyrics are met with flat vocals, simplistic acoustic guitar and woodblock. Each song presents the same tired formula. This coffee break puts me to sleep.

Yawn. joeflatt.com —Jen Van Tieghem

The Flowerthief Demo

This classic-rock quintet has professional chops—especially the drummer. If you’re into tie-dyed guitar riffs and a moody Doorsstyle organ, you’ll have fun listening to these dudes. theflowerthief. bandcamp.com

Latin and Southwestern touches on “Breakin in My Shoes,” which sounds as if it could have been plucked from a David Lynch film.

And “The Future Sucks” is downright dreamy in its dense array of soothing guitar sounds and unexpected bursts of effects. I’m not sure I entirely understand Don Forla, but I definitely like his music. donforla.bandcamp.com —Jeff Terich

Free and Easy Wandering Work-In-Progress EP

Three solid, if unexceptional acoustic-folk demos about busking, bartering and being a rambling man. Fella has a decent voice and affective storytelling, but the subject matter and sentiments overall are about as relevant as an Occupy rally. freeandeasywandering.com —Seth Combs

—Joshua Emerson Smith

Friction Monster

Don Forla nativewisdom <-> gregorianblues

There’s something a little, well, off about Don Forla. And I mean that in the best way possible. From the moment that nativewisdom <-> gregorianblues begins, he takes the listener on a disorienting, albeit playful, ride through psychedelic vaudeville freakouts, intertwining the complex hobo blues of Captain Beefheart with the lo-fi folk of Daniel Johnston, all narrated with the hushed and muttered vocals of an uncomfortably unstablesounding weirdo. He incorporates

Tantrum

This one’s all over the place. There are ambient rock songs, like opening track “Waiting,” which combine interesting layers of vocals and synthesized sounds. And then, midway through the album, Friction Monster take a hard left into a screamo realm that I’m don’t particularly like. The music and vocals are strong throughout, as is the production quality. Their better tunes remind me of the better years of Our Lady Peace, which in-

CONTINUED ON PAGE 34

February 26, 2014 · San Diego CityBeat · 33

trigues me enough to want to catch them live. frictionmonster.com —Jen Van Tieghem

Fuckin’ Duh Fuckin’ Duh Mixtape ‘14

Fuckin’ Duh is every bit as lowbrow and obnoxious as you’d imagine it to be. Maybe more so.

This mixtape is nine tracks of poorly recorded dick jokes over DIY Casio beats, and while it’s consistently borderline unlistenable, there’s a kind of “Aristocrats” level of high art to their lowbrow tendencies that makes their shtick admirable as a whole.

“Intellectual Head,” for instance, imagines blowjobs as a transfer of knowledge (“We’ll call this head intellectual / because you’re blowin’ my mind”) and then closes with the chant, “Feelin’ titties, feelin’ titties / feelin’ breasts.” For some reason, closing with “breasts” rather than one more “titties” just seems like an inspired move.

I feel dumber, and yet richer, for having listened to Fuckin’ Duh. fuckinduh.bandcamp.com

extraspecialgood Faro

Demos on Bandcamp

The guy behind this project, Robert Iwanik, is a veteran experimental musician, having spent time playing ambient jazz in Seattle and avant-rock in Chicago. Now he’s in San Diego, and he’s stocking his Bandcamp site with hissy, unsettling recordings of clangorous electric bass, unorthodox percussion, wordless vocals and, I think, field-recorded noise, all pieced together in ways that ensure you have no idea what to expect from the next track. My favorite was “Santa Ana,” a seven-and-a-half-minute song featuring a narcotic rhythm (that sounds like it’s being pounded out on basement plumbing) and the layered howls of dead-eyed strangelings over a wall of low-roaring fuzz. Unnerving. Engrossing. Laborious. Addictive. All of the above. faro1.bandcamp.com —Ben Salmon

maybe during an interview with Gordon Lightfoot or something— had spontaneously grabbed a guitar and busted out one of the stronger tunes from Fingerprints, there’s a good chance it would’ve gone over pretty well. I mean, I can totally imagine saying to my TV, “Hey, that —Jeff Terich guy’s actually not half bad.” reverb nation.com/dangindling

Fused

—Scott McDonald

Demo

Hell yeah! Fuckin’ rock that shit, dudes. I hope you were wearing codpieces and spandex while recording this, ’cause this is heavymetal to the core. A little Maiden here, a little Halen there, a little folksy Zep guitar work thrown in for good measure. Hot licks all around, baby. Now, where’s the cocaine? reverbnation.com/fused —Peter Holslin

Dan Gindling Fingerprints

It’s all me, but when I look at Dan Gindling, I can’t help but think of exGood Morning America host Charles Gibson. And I imagine if Gibson—

super-fun stuff, and with a slightly bigger studio budget, these guys could do some serious damage. thehandofgavrilo.bandcamp.com —Jeff Terich

Hanging from the Rafters Box of Songs

drop that frames it isn’t working. Hazel is charismatic and definitely has something to say.

I’d just love to see her experiment: Get all Saul Williams and really let loose, try some spoken word or fiddle with electronic elements. The dish is there; I think the recipe just needs a few more herbs and spices. reverb nation.com/sharonhazel

34 · San Diego CityBeat · February 26, 2014

—Jackson Milgaten

Hellnote Hellnote

My cassette player broke a while back, but I still got that warm cassette-listening vibe from the —Scott McDonald digital version of this dope hiphop beat tape. Filled with soulful beats and heady rhymes, it finds the local duo showing love Demo for old-school hip-hop, J DillaHave you ever walked down the style beat science and ravenous street and written a song based on crate-digging. A little too choppy your observations, to the rhythm at points, but, all in all, it’s ideal of your footsteps? Something that for a blunted head-nodding sesh. might sound like: There is a man / hellnote.bandcamp.com there is a bus / hope it doesn’t rain —Peter Holslin / cuz then it might rust. Most of Headsick’s songs have this quality, but turned up to a grungy extreme.

However, according to their Fa- Buzzkill the cebook page, the singer is a diag- Magnificent EP nosed schizophrenic, which gives Those of a certain age might rehis mental turmoil—a common member the days of horrorcore lyrical theme—added poignancy. and vintage RZA beats that could It’d be a mistake to confuse these have very well been the score of a songs with run-of-the-mill adult slasher film. Something tells me angst; rather, they offer an intimate these beatmakers do, as well, and portrayal of mental illness and good on them for it. However, one man’s struggle to cope with it. most of the instrumental tracks last less than a minute. Flesh ’em reverbnation.com/headsickepic —Ryan Bradford out a bit more and get a capable MC on there and they might be a local hip-hop force to be reckoned with. Good stuff nonethe less. hellnote.bandcamp.com

Headsick

Hellnote

This female-fronted three-piece reminds me of Everything but the Girl if only they were filtered through a prog-rock lens and the more sinister of Massive Attack’s The Demo low-tempo grooves. The album With a name like The Hand of never really gels as a whole, but Fear of Being Alone; Gavrilo, I expected some dizzy they seem to be headed in the Halloween Annual combination of psychedelia and right direction. soundcloud.com/ No. 3 double EP schlocky horror, à la Manos: The hangingfromtherafters The first of these two EPs is an Hands of Fate. That’s not too —Scott McDonald alt-country affair complete with far off from what The Hand of twangy tremolo guitar and lyrics Gavrilo sound like, as a matter full of cliché cowboy jargon. It’s as of fact—though their name most hokey as a Wild West town in an likely refers to the Serbian assasamusement park, and the whole act sin credited with starting World 14 C Bags comes off as completely unbelievWar I—their effects-heavy psychEarnest and raw, Ms. Hazel defi- able and disingenuous. The second rock coming across like an altnitely puts her heart into these half of this collection doesn’t devirock Blue Cheer with a touch of eight tracks. But, to me, the folky, ate too far from the first. It has a bit The Mars Volta’s rhythmically acoustic, pseudo-blues back- more of a spooky ’60s psychedelic complex prog. It’s hard-rocking,

The Hand of Gavrilo

vibe to it but feels equally as inauthentic and uninspired. theheart beattrail.bandcamp.com

The Heart Beat Trail

Sharon Hazel Township

—Seth Combs

Hirie Hirie

A reggae album that’s more Carnival Cruise than Pacific Beach bro party, Hirie drags through one squeaky-clean riddim after another in a homogenous display of what a tour guide speaking in a fake Jamaican accent would call “island vibes.” hiriemusic.com —Peter Holslin

Hocus

facebook.com/hoodrat666 —Jeff Terich

Outside Your Door

When your names are Fat Lando, Lolita and Rhino, not to mention that you have legendary Seattle producer Jack Endino on board, and your one-sheet says the band “continues to keep guitar rock alive,” you have to be aware that you’re building some lofty expectations. And while Outside Your Door has a few nice moments and plenty of nifty guitar work, it never lives up to that promise. sound cloud.com/hocus-music

Inciting Riots Grey Test Hits

Grey Test Hits is a collection of punk songs from various EPs and albums released by Inciting Riots between 2001-2009. “Me & My Attitude,” “Oi Boi,” “Road Kill” and “If Not for the Ramones” are all culled from 2004’s Tim Goes to Prison and are their best offerings here: a mix of vitriolic, spirited vocals and grungy, fuzzed-out guitar set to pummeling —Scott McDonald drums. Sadly, the remaining cuts lack any urgency, often plagued by bland lyrics and dull, punk-by-thenumbers riffs. incitingriots.com

Hoodrat

Return of the Comeback

Not a single song on Return of the Comeback reaches two minutes, and none of them has to. They get in, make a mess, tear shit up, break the windows, annoy your neighbors, piss on your lawn and then get the fuck out before the cops show up. Their methods mostly involve three-chord punk songs played loud, fast and with snot-rockets to spare.

It’s punk rock the way it’s been done for nearly 40 years, and it sounds just fine to these ears.

—Dustin Lothspeich

Inzain

sense of humor, either. He wants to blow minds, positioning himself as the enlightened alternative to the most successful white rapper alive. But, in fact, Inzain’s socially conscious raps are trite as hell and occasionally even kinda sexist (see the cringeworthy chorus to “The Way That Love Goes”).

If you think about it, Inzain could probably learn something from a guy like Milhouse. Maybe his next mixtape should be called “I’m Not Milhouse.” facebook.com/ hiphopasylum —Peter Holslin

I Trust You to Kill Me The Extreme Existential Crisis EP

I trust you to be smart enough to tell by the band’s name that this I’m Not Eminem Hahahahaha, this guy sounds like is some serious screamcore with Milhouse Van Houten! A dweeby no songs longer than two minutes flow, awkward rhymes, feeble and lyrics that resemble somebeats—this is straight poindexter- thing you might find scribbled rap right here. Though, I don’t in shit on a mental asylum wall. know—Milhouse might make a It’s not bad, but I also trust that better rapper than Inzain. The it might only appeal to 17-yearformer has self-awareness; he old males who desperately want knows he’s pitiful compared to to punch their mothers. itrust Bart Simpson. But Inzain? This youtokillme.bandcamp.com —Seth Combs dude has no humility, and no

Keith Richard Ramirez Three Song Demo

The band name sounds like Marilyn Manson’s keyboard player, but the music is more akin to Al Jourgensen trying to sing like Bob Log III, backed up by pre-glam T. Rex, who are, by the way, high as fuck on ’ludes and mescaline. I’d call it garage rock, but I don’t want to insult any garages. facebook.com/ KeithRichardRamirez

Police over this blather any day. lucasleemusic.com —Dustin Lothspeich

Legacy Pack Fruit of Knowledge EP

Legacy Pack is one of those feelgood, neo-soul / hip-hop / rock groups that tend to be painfully vanilla, overwhelmingly preachy or just plain boring. Thankfully, the Legacy Pack’s only main missteps are the goofy, Lilith Fairinspired cover art and the heavy—Seth Combs rock / rap disaster of the title track. The rest of the EP brims with powerful rhyming, compelling flow and tight, talented musiNormalcy Bias cianship, with the strongest track Alright, Normalcy Bias is a conbeing the opener, “Delirium.” My cept album, the kind in which the two cents, guys: Less played-out, entire story arc and—dare I say it— faux-metal guitar, more trumpet. plot are spelled out right there in a facebook.com/legacypack garishly descriptive paragraph on —Dustin Lothspeich the back cover: A character named “Character” journeys through a 1984-like military-state world, eventually descending into in- Two Song Demo sanity. Cool story, bro. The album Note to parents: When you don’t is a never-ending mix of quasibuy your kid guitar lessons and you prog-metal, noodling jazz, synth instead just let him hole up in his burbles and ridiculously goofy room and listen to Circa Survive vocals. The musicianship is toprecords, don’t be surprised when notch, but who really cares when you’re asleep halfway through the first song? I’ll take the Thought CONTINUED ON PAGE 36

Lucas Lee

Les Enfants

February 26, 2014 · San Diego CityBeat · 35

some pissy reviewer slams his feeble attempt at emo-folk in the local alt-weekly. I’d say more, but I probably already made the singer of Les Pussies Terribles cry, cut himself and write a song about it. sound cloud.com/terriblechildren

extraspecialgood

—Scott McDonald

Tyson Motsenbocker

—Seth Combs

Ian Lightend

Tyson Motsenbocker is a talented singer-songwriter in a city that’s already chock full of them. While his familiar acoustic-pop style isn’t exactly my thing, I have to give Motsenbocker credit for what he’s crafted on this five-song EP. The mellow songs are well-arranged, and his pleasant lead vocals are matched nicely by a sweet feminine voice on most of the tunes here. The result is palatable but, unfortunately, all too common. tysonmotsenbocker.com

This guy can’t harmonize to save his life, and he’s no Elliott Smith on the acoustic guitar, either.

But the flaws in his folksy tunes simply add to their warm, quirky charm. “Some of the best days are when it rains,” he sings in “Plain.”

It was raining outside while I listened to the delicate strums.

Right there with ya, Ian. —Peter Holslin

Julie Lockett

—Jen Van Tieghem

Demo

—Peter Holslin

Liam McGrath Cactus Project

One man with a guitar sings maudlin stories about love lost and other related themes. These folk ballads aren’t bad, and would probably sound perfectly fine if played by your friend in front of a campfire marshmallow-roast.

—Joshua Emerson Smith

McHenry, Ritchie and Chin Demo

This Americana trio features two guitars, a standup bass and songs of down-and-out gamblers and ramblers. They’re tight instrumentally, with moments of nice improvisational flourish. I’d happily pay $5 to listen to them at a local watering hole. soundcloud. com/mchenry-ritchie-chin —Joshua Emerson Smith

Meth Labs “Tell that to Pablo Escobar”

Meth Labs hate your fancy car, your

number of regrettable mainstream rock trends during the past 20 years, from the instantly outdated funk-rock of Red Hot Chili Peppers to the lifeless ska / reggae of Sublime to dead and bloated riffs of post-post-grunge. The female lead vocalist has a distinctive voice, though, so points for that.

—Ben Salmon

Rivers and Roads EP

Four Ways

Julie Lockett sounds like an Auto-Tuned Aretha Franklin impersonator crossing paths with a chipmunk-voice pitch-shifter. In these tracks, she’s accompanied by the sort of factory preset softpop organ vamps you’d find on an old Yamaha keyboard. Her lyrics mostly consist of soul-singer bromides: “You will find your way.

You will, you will, you will.” All of which is to say that she’s totally awesome and weird.

thought the unspoken rule is that a bluegrass band has to jump into the hot skillet a few times every night. reverbnation.com/mohavisoul

Mr. Nobody

Kids

Going to Your Happy Place

Growing Up

Truly remarkable albums have the ability to sound ephemeral and permanent, to capture a specific time, yet sound timeless. Kids’ Growing Up is that album, a seven-song explosion that feels simultaneously calculated and slap-dash, a perfect package of punk energy, nostalgia and—true to their name—youth. It’s not just that the songs are catchy (though I can’t remember the last time an album opener wormed its way into my brain like the title track). These songs are selfless. They give listeners the chance to be young, to experience the late nights, the crushes, the clumsiness, the awkwardness, the mosh pits, the heartbreak and the stupid things we did that left scars. When they sing, “Now we’re growing up / And we’ve got to think about the next four years / And we’ve got to think about the next 10 years,” it’s difficult to tell whether it’s a middle-finger or a cautious embrace, but great music has always had the ability to contradict itself. And the scars will still be there, even after we’re old enough to know better. sandiegokids.bandcamp.com —Ryan Bradford

big TV and your notion of the American Dream. They probably don’t care for you, or me, or this review, for that matter. All they want to do is drink beer, hang out with friends and destroy their instruments by playing insane punk, which is the only way to play this kind of music. Meth Labs’ one-track demo is a booze-fueled thrasher that espouses the joys of ditching the materialism of modern life, and it does so in just two minutes with the ferocity of a Dillinger four track. meth labs.bandcamp.com —Ryan Bradford

Mittens Demo Mittens

Cutesy, cat-loving indie-pop is not something I’d actively seek, but this co-ed quartet won me over with these four songs packed with catchy hooks and sing-along

36 · San Diego CityBeat · February 26, 2014

choruses. Fans of Camera Obscura and Acid House Kings will almost certainly find tracks like “Steal You” and “Always Knew” to their liking, but it’s the ballad “Heart of Me,” which ends with soaring harmonies and a frenzied guitar-and-drum showdown, that proves that this band isn’t afraid of experimenting with the formula. mittensband.com —Seth Combs

Mohavisoul Blue Diesel

I typically enjoy my grass when it’s green, but if it has to be blue, Mohavisoul does a pretty decent job with it. The songwriting is solid, and everyone can play, but the whole thing’s just begging to be kicked up a notch. After a while, a constant stream of mid-tempo songs ends up being a big, fat folky yawn. I

Three cheers for real fucking punk rock! These songs are all super-short and super-stupid— highlights include a sneering rager called “Up Yours, Happiness”— and that’s exactly what makes it all super-rad. Bonus points for the off-key, mosh-o-riffic cover of Ace of Base’s “The Sign.” Now let’s get some Mickey’s and puke on the carpet. mr-nobody.bandcamp.com —Peter Holslin

Muniq Ja! EP

Muniq’s sound is so steeped in homages to obscure genres that it’s difficult to tell whether they’re serious or not: They’re equal parts Italo disco, German pop and post-apocalyptic ’80s-movie soundtracks. It’s certainly fun to listen to talented musicians who can emulate their esoteric influences, but the Ja! EP is a little too steeped in obscurity to be entirely satisfying. For example, if you’ve never explored Goblin or Tangerine Dream’s deep cuts, this might feel like the soundtrack played in a haunted house ride, complete with terrifying Dracula voice. But if you can keep a straight face while dancing to a Moog breakdown with “Lights, music, legs!” shouted over it, then this was made for you. muniq.bandcamp.com —Ryan Bradford

The Nerd Herd Demo

This demo is a lo-fi landfill for a

Never Pass Go Baltic Avenue

Here we go: Another band trying to rage against the machine with sloganeering poorly disguised as rock music. The cover of Never Pass Go’s Baltic Avenue depicts Monopoly’s Uncle Moneybags giving a Nazi salute in front of stormtroopers, but the band’s raw folk-punk sound yields tracks that don’t seem to get any more thoughtful or more interesting than generic slogans like “Kill the Machine.” Their music is just too sleepy—and singer Kevin Black too much of an atonal mess— to actually inspire any action.

Some singing lessons, a politicalscience class and a new rhyming dictionary won’t necessarily win hearts and minds, but they would definitely make this better. face book.com/neverpassgo —Jeff Terich

The Nieces EP

Three or four chords, barked vocals and a skull-busting rhythm section, all presented at one speed: the speed of classic punk rock. The Nieces’ take on the genre is undeniably catchy and unmistakably gritty; my favorite thing about this EP might be the production, which coats the tunes in enough grime that you can almost hear the tattered old flyers peeling off the walls, but not so much that it sounds shitty.

A fine effort all around by three dudes who seem like they get it. reverbnation.com/thenieces —Ben Salmon

The Night Owl Massacre The First Five

I’m going to guess that The Night Owl Massacre have spent some time with Rocket from the Crypt’s catalog—the first song on this demo, “Into the Ground,” sounds almost exactly like Rocket’s “I’m Not Invisible.” And it’s hard to fault them for rocking out in the shadow of one of the city’s greatest bands. While the rest of The First

CONTINUED ON PAGE 38

February 26, 2014 · San Diego CityBeat · 37

Five doesn’t find the group so blatantly attempting amateur Rocket science, the influence is definitely there. These are some good-time, power-chord-heavy rock ’n’ roll tracks, with just enough punk snarl to give them a rowdy edge. face book.com/thenightowlmassacre —Jeff Terich

No Prom The Catherine Keener Demo

The great thing about recording demos in the 21st century is that you can make a fairly decent-sounding recording without the incessant hiss of cassette noise. On that note, No Prom’s Catherine Keener Demo sounds pretty good, if not necessarily professional. The problem is that their vocalist mumbles his way through songs, without the aid of a decent microphone, so it just sounds like he’s muttering random shit from the center of their practice space. And he very well could be. Aside from that, this is middleof-the-road pop punk / indie rock.

Nothing more, nothing less.

—Jeff Terich

No Time to Tarry Town Demo

Four songs with crudely picked stringed things, vacillating bass lines, disorienting horns and vocals that warble like found sounds on a cassette left all summer long in the back window of a brokendown sedan. The result: songs and melodies that seem stretched till broken, then put back together in a way that’s almost right, but not quite. I have no doubt these outsider-folk peddlers will take all of the above as a compliment, by the way. As they should.

—Ben Salmon

Oddball Cold Beer, Dirty Girls Everything about Oddball’s Cold

Beer, Dirty Girls is punk: feverishly fast drums, repetitive guitar riffs and screeched vocals. I couldn’t make out much of the lyrics, but with song titles like “Just the Tip,” that’s probably a good thing. Some solid guitar solos break up the relentless pace of the tunes, but the complete package—from the artwork to the offkey vocals—is enough to convince me I’m not a fan. reverbnation. com/oddballsandiego —Jen Van Tieghem

Ojo Malo El Perro

The names are misleading—Ojo Malo is not Latino. And despite the Spanish track titles, nothing in the music has any hint of Latin rhythm. Instead, it’s a nine-track experimental-rock album that uses samples from radio broadcasts and movies, including Johnny Depp’s classic bit from Once Upon a Time in Mexico: “Are you a Mexican or a Mexi-can’t?” Quentin Tarantino and Robert Rodriguez would maybe dig this duo.

Maybe. ojomalo.bandcamp.com —Dita Quinones

On Fifth This female duo plays fragile and fingerpicked acoustic songs that float into your headspace, hover around for a while and then blow away with the next significant breeze. The guitar work is solid, and their voices work nicely together and separately, but some of these melodies need more time to develop. They’re too slight. Once On Fifth’s songs are over, good luck humming them from memory.

—Ben Salmon

Otoscope I don’t know, man. Copyright on Reflection’s liner notes is 2009 and

38 · San Diego CityBeat · February 26, 2014

—Scott McDonald

Palos Soul Edits

Packaged in an Atlantic Records catalog LP insert from the 1970s and burned on a CD-R designed to look like a record, Palos’ Soul Edits pretty explicitly aims for a vintage aesthetic, which goes double for its music. Soul Edits isn’t just a title; it’s a description of the smooth, funky and all-around groovy sample-based tracks contained on this release. Each track is less than three minutes long, some even under two, but Palos packs in more than enough heady, immersive sounds to keep the good vibes flowing on a repeating loop.

I’m a sucker for Rhodes piano

and fat bass grooves, so consider me sold on Soul Edits. rudypalos. bandcamp.com —Jeff Terich

Paradox Playground Three Song Demo

This co-ed duo describe their sound as “EuroPop,” and I’ll be damned if I can’t think of a more apt description. Think ABBA if they had no songwriting skills whatsoever. Their bio says they’d love to get their music on TV ads, but after listening to the overly schmaltzy “I’m Still Here” a couple times, I reckon the only company that would be interested is one that hawks cheese-flavored products that aren’t actual cheese.

Even then, the song’s so cheesy, Kraft would only use it ironically. paradoxplayground.com —Seth Combs

extraspecialgood Menudo Lamont

(… A Short Story)

Three MP3s

Reflection

the listing on CD Baby claims 2012.

Either way, it seems pointless to rehash this neutered collection of Richard Marx-meets Candlebox lite-rock. otoscopemusic.com

Rudy Palos, man. He’s been quietly kicking around in the local scene for a while now, and this Latin-tinged instrumental beat-tape—in which he operates under a new, Mexican-flavored nickname—finds him in top form. Here, cumbia and rhumba samples mingle with neon-tinged synths. Dirty bass lines fill the speakers, pushing forward with sex appeal. When things start getting out of hand, tight hi-hats and knocking kicks put the trippedout vibes back in line. For all the dope Latin flavors, there’s also “Menudo Love,” a slab of ’80s-style boogie-funk replete with cosmic synth stabs and 808 cowbells. But my personal favorite might be “Resolve”—you can practically see Palos tapping into his drum box in real time as he conjures a soulful mid-tempo groove. These beats are so stylish and lively that they’ll fit most any occasion: smoking a blunt, making love or simply cruising to the beach in a lime green low-low. So remember the name: Rudy Palos. This dude knows what’s up. rudypalos.bandcamp.com —Peter Holslin

Hector Penalosa Can’t You See Me Running

Hector Penalosa packs his technically proficient pop-rock with skillful guitar solos. Unfortunately, his singing doesn’t stand up to his musical skill, and the overall product could benefit from a dash of originality and a better backing band. Despite honing his chops as a member of local punks The Zeros, in this context, Penalosa merely feels like a solid session musician on a solo-project misadventure.face book.com/hectorpenalosa —Joshua Emerson Smith

Penis Hickey Planet Free Jazz

Perhaps I need to take Peter Holslin’s advice and see these guys live, but, to me, this noise duo just sounds like they’re being weird for the sake of being weird. Other than the spastic improvisation and the cover of Sun Ra’s “Nuclear War,” I don’t hear anything here even remotely resembling jazz— just cracked-out, guttural bellows, nonsensical spoken-word and music that sounds like it was made (and likely only enjoyed) while on several buttons of peyote. penishickey.bandcamp.com —Seth Combs

Clint Perry & The Boo Hoo Crew Time of our Lives

It turns out, this is a Parents Choice Award-winning band with songs like “Face Full of Spider Webs” and “Chug-A Chug-A Choo Choo.” Plus, each CD comes with a ride ticket to Belmont Park and a Jersey Mike’s kids meal.

Thank goodness, because I first listened without context and thought it came with a creepy moustache and a van filled with candy. But Perry’s songs are goofy

and good-natured and should definitely appeal to younger children. boohoocrew.com —Scott McDonald

The Phantoms The Phantoms

The Phantoms sound like any ol’ rock band you’d hear in a seedy bar that keeps Miller High Life and Fireball whiskey on special.

Methinks that after a half-dozen of each, they’d still sound mediocre. The lyrics are simplified rhymes about everything from broken hearts to punching bosses—all sung out of tune and with little conviction. On “Ditch Digger,” singer Victor Penalosa sings about his shitty day job, which I’m going to go ahead and say he shouldn’t quit just yet. reverb nation.com/phantomsinfo

The Lumineers (I saw a version of Ed Sharpe’s “Home” somewhere, too) are also part of the show. Mais pourquoi? Insert my sad Marcel Marceau face here. reverbnation. com/quelbordel —Scott McDonald

Quietwater Demo

Quietwater is a duo that blends classical music, hip-hop beats and pop sensibility into something that sounds well-thought-out and exquisitely crafted, like an earth-

tone quilt pieced together from bits of the past and the future. It’s not exactly the kind of music that jumps out and grabs you, but it’s great mood music for those rare gray San Diego days when you want to stay inside, drink tea and do a little popping and locking, Old World-style. reverbnation. com/quietwater —Ben Salmon

The Rebound I Feel Like I’m Taking Crazy Pills/

Excelsior (Rev 1)

The Rebound play technically pristine pop-punk with enough hardcore thrashing to give them a harder edge—think blink-182 meets Thrice. And the quality of their recording is outstanding, which gives each drum fill and guitar riff the attention it deserves. But super-slick production on punk rock always feels disingenuous, even if the band falls under a market-friendly subgenre like pop-punk or emo. It’s a minor complaint, I know, and most cute emo chicks don’t care about crust

punks making shitty recordings in their garage, but it feels like the sheen reveals a little too much restraint when a band like this could afford to go batshit crazy. facebook.com/TheRebound —Ryan Bradford

Remedy By Request “Shut the Club Down”

I’m not sure if Remedy By Request is the name of a group or the name

CONTINUED ON PAGE 40

—Jen Van Tieghem

Aaron Poehler & Ryan Tully-Doyle Dietrich

Seeing the CD, I assumed this was a straightforward singersongwriter duo. I was wrong, and surprised to find this is, in fact, a progressive-rock act that sounds awkwardly similar to mid-’00s indie duo She Wants Revenge: moody, uptempo dance songs with slightly distorted baritone vocals and angular electric guitars. aaronpoehler.com —Jackson Milgaten

Adam Powell Some Jerk at Work

The premise for this EP is that Powell is a new dad who can’t find time to make music at home, so he does so at work before his colleagues get to the office. All these songs were recorded with a mic on Powell’s phone; the vocals were done while he sat in traffic.

It’s a cute idea, and while his little quirk-folk songs won’t change the world, hey, the point is that they’re done. And if lo-fi banjo, guitar, melodica ’n’ more equals a semblance of artistic fulfillment for Powell, more power to him. Parents everywhere can appreciate that. adampowell.bandcamp.com —Ben Salmon

Quel Bordel!

Qui Ne Chante Pas…

An enjoyable little four-banger of Gypsy foot-stompers that seems primed to play even better live. But a quick trip to their website reveals that covers of things like Mumford and Sons, Imagine Dragons and

February 26, 2014 · San Diego CityBeat · 39

of the rapper on this CD, but at least they (he?) kept it short and sweet with a one-song single. “Shut the Club Down” is a Black Eyed Peasish, catchy-ass earworm written in a minor key, so of course I loved it. I noticed three references to snacks by brand name and four mentions of “swag,” but it was the “ain’t no Urkel in my circle” rhyme that won me over. I was also endeared by how closely vocalist Angie Sagastume resembles Saturday Night Live’s Jane Curtin. They ought to pipe this into the stores at the mall that sell skinny jeans for $9.99 so they can get paid before the word “swag” finally falls out of fashion. reverbnation.com/ remedybyrequest —Diana Death

Revolut-Chix Demo

Awful name aside, this all-female quartet performs pretty straightforward punk-by-numbers (sample lyrics from “Denial”: “You’re in denial!! No I’m Not!!” over and over and over again). They live in Alpine and look like they could kick my ass, so I don’t want to belabor the point of their unoriginal suckiness. facebook.com/revolutchix

Schmaltz

Tolan Shaw

Squarecrow

2+2 = Chicken

Tolan Shaw

B-Sides

The Schmaltz lineup that performed this album is no longer playing together, so, apparently, this is a posthumous review. The good: These songs often feature some crazy time signatures and some superb guitar / bass playing.

The bad: everything else. They’re just too goofy for my taste—it’s Tool-lite meeting a nerdy Primus cover band in a knife fight—but played as demented elevator music with bizarre vocals and lyrics that sound like an IT guy on acid.

—Dustin Lothspeich

The Seks Audio Erotica

More like an audio anal date rape.

More than a dozen tracks of threechord glam-punk from a guy who dresses like the Burning Man version of the Mad Hatter. This is music so stupid and misogynistic that I literally slapped myself in the face and went “Doh!” à la Homer Simpson. I sincerely apologize to anyone who listened to this because they follow me on Soundcloud. sound cloud.com/jawsh-sek-sy

—Seth Combs

40 · San Diego CityBeat · February 26, 2014

—Seth Combs

Tolan Shaw has it together. There may not be all that much originality when it comes to his songwriting, but this guy surely can sing. With a catchy, horn-drenched sound guaranteed to offend no one, I can totally see my mom getting down to this in her kitchen. tolanshaw.com —Joshua Emerson Smith

The Spark Three Demo

After a bunch of sloppy punk demos, the twinkling, extra-indulgent disco sound that The Spark Three craft arrived as a palate cleanser in the best way. On first listen, it seemed as if the group did a cram session with Daft Punk’s Random Access Memories, but then again, there’s enough in the way of strong melodies here to make me overlook the similarities. The scratch guitar and rolling bass line of “Under the Sun” make for an instant party, while “Theme A” buzzes with some dirty low end and a dreamy, hyper-infectious chorus. The Spark Three are extra smooth and extra fun—sequin jumpsuit optional. facebook.com/sparkthreemusic —Jeff Terich

Just by the title—B-Sides— Squarecrow are telling us that we’re not about to hear their A material. And that’s fine; you never know what kind of treasure you’ll find buried in a band’s outtakes and castoffs. And their style of rockabilly-influenced pop punk is nice enough. It’s catchy, crisply produced and even occasionally features some horn flourishes.

Ultimately, though, I’ve heard far too many bands that play this kind of polished pop punk to ever want to hear this again. square crow.bandcamp.com —Jeff Terich

Stewardess “Ghost”

On the surface, Stewardess’ “Ghost” sounds like a fairly conventional alternative / indie-rock song. It’s awash in dreamy guitar jangle, disco bass lines and a lightly danceable rhythm, with some breathy, affected vocals mimicking the titular apparition. It echoes that brief dance-punk renaissance of 2004 and ’05, when groups like Franz Ferdinand and Bloc Party were starting to take over and ga-

rage rockers and throwback acts were beginning to falter. Stewardess pulls it off nicely. It’s hard to see the full picture with just one song, but it’s not a bad start.

—Jeff Terich

Stone Horse Cosmic Force

For some reason, iTunes recognized Stone Horse as “Reggae,” though that’s not even close to what the band plays. Rather, Stone Horse play—as you might gather from the name—rough-and-tumble bar-band rock ’n’ roll. It’s pretty fun, I’ll admit, but the schlock factor is turned up to 11, with songs about riding motorcycles and “making love all night long.” It’s music for biker rallies, basically, right down to the harmonica solo. thecarlosrockexperience.com —Jeff Terich

The Stone Walls Demo

These dudes are like Dinosaur Jr. without the cool aloofness. Blazing indie-rock riffs and a singer with a scratchy “rocker dude” voice ain’t nothing special, but it gets the job done.

—Peter Holslin

Subsurfer Devil’s Lounge

I was digging this from the first song, “Teenage Love Gone Wrong.” It’s got a buzzsaw electric guitar chugging away to a Psychedelic Furs-y melody that warms the heart in all the right places, but the rest of the CD sounds like either The Killers, or whoever’s music was in Target commercials in the early 2000s. Eight out of 11 tracks are ’luded-up, 35-mph power pop with vocals that sound like Brandon Flowers. I prefer when they rev it up to at least 55 with “Stoned” and “Rat.” I know these guys have been getting some recent hype, but I think they’re just a’ight; I was hoping Devil’s Lounge would be more Satanic. reverbnation.com/subsurfer —Diana Death

Sundrop Electric Sundrop Electric

The opener on this four-song EP made me think this was a dreamy little instrumental post-rock record à la The Appleseed Cast, Joan of Arc, etc. This is not the case.

Second track “Little Runaway” sounds like a bland Interpol / She Wants Revenge imitation. Third track “Done with Love” is basically Guns N’ Roses meets Oasis. The last song, “All Gone,” is one part shoegazing stoner rock and one part ’90s quasi-Christian “postgrunge” (e.g., Creed). If I didn’t know this was all one band, I’d have sworn it was the most eclectic mini-compilation of all time. sundropelectric.com —Jackson Milgaten

Sunset at Duck Pond Demo

These three ambient soundscapes make me feel like I’m in an episode of The X-Files. They could just as easily score a Nova video about space that I saw in my seventh-grade science class. Either way, it does a pretty good job of luring me into a trance-like state that would give any muscle relaxant a run for its money. This is less music that you listen to than it is a mood that washes over you.

—Jackson Milgaten

The Sure Fire Soul Ensemble “Layin Low” b/w “IB Struttin”

It’s impossible to get a real bead on a band through two songs, but The Sure Fire Soul Ensemble have

extraspecialgood

Project Analogue Don’t Punch the Table EP

Project Analogue present an intriguing blend of ’90s-era rock with just the right pop elements. The female vocalist has stellar pipes, and she puts them to work right out of the gate on opening track “Revolving Door,” which is an ethereal mix of vocals with synthesized sounds and a catchy chorus. Reminiscent of The Cranberries at times, the delicate lyrics are matched well with grittier guitars and drums. The male singer holds his own, as well, and his contributions—both as lead and backing vocalist—are a welcome alternative to the sleepy delivery of most dream-pop or shoegaze frontmen. And though the final song of the EP was the weakest of the bunch, the other four are more than strong enough to earn my endorsement. facebook.com/projectanalogue —Jen Van Tieghem

picked a winning pair on their debut 7-inch. Grooving somewhere between Afrobeat rhythms and straight-up soul, this instrumental collective has obvious chops and showcases them nicely on this double-shot. And, really, who doesn’t like vinyl? thesurefire soulensemble.bandcamp.com —Scott McDonald

Teagan Taylor Hello

Set against a smooth-jazz band with a sugary keyboard, Taylor sings heartfelt songs of love and longing. With a big, clear voice, she cleverly improvises her lyrical poetry through surprisingly unpretentious, enjoyable arrange ments. teagantaylor.com —Joshua Emerson Smith

Tiger Milk Imports Tiger Milk Imports

As I take in Tiger Milk Imports’ winding synths, layered rhythms and sly vocal parts, I feel like I’m wandering the infinite alleyways of some virtual futurescape—like Tron but a littler darker. There’s a lot going on with this outfit’s proggy electro-pop sound, which is distinct and full of promise. A couple of tracks here have frustratingly similar bass lines; a couple others sacrifice soul for the sake of tech-

nical showiness. But when core members Shannon O’Brien and Alexander Dausch zero in—with the intricate “Welcome to Nighttime,” for example, or the hypnotizing synth opus “Vegas”—they come up with something special. facebook. com/TigerMilkImports —Peter Holslin

Todo Mundo Conexion

Todo Mundo is a damn-fine live act. But not enough of that impromptu energy and expansiveness translated on 2010’s Organic Fire. With Conexion, the discrepancy between performances and recorded output is starting to fade. Latin grooves, samba, reggae, cumbia and jazz combine on the new album for an enjoyable hour of music that more than hints at what they can do on stage. I don’t think they’ll ever be able to capture the magic of their shows on a standard release, but they’re certainly getting closer. reverbnation.com/todomundo —Scott McDonald

The Touchies Mess With The Unicorn… Get The Horn!

Straight-up pop punk. Simplistic, melodic, irreverent. Every song be-

CONTINUED ON PAGE 42 February 26, 2014 · San Diego CityBeat · 41

gins with a “1-2-3-Go!” and almost all of them clock in at 2:30 or less.

The tunes are catchy and straightahead without any regard for pretense or self-indulgent “artistry.”

Listening to this takes me back to the feeling of going to all-ages punk shows in my younger days. reverbnation.com/thetouchies —Jackson Milgaten

Trelic

—Joshua Emerson Smith

The Jason Tryp Experience The Many Colours Of…

Demo

Take the worst Korn song you can remember and throw in the singer from Ugly Kid Joe (look ’em up—or, better yet, don’t) and that would still be better than this steaming pile of nu-metal rehash. This is what I imagine George Zimmerman listens to while beating up his girlfriend. facebook.com/weare.trelic —Seth Combs

Trouble in the Wind Slide Rock

accordion, upright bass and/or banjo. With throaty, moody vocals and tight, frenetic instrumentation, it’s not hard to see this being more than a few somebodies’ cup of gin-splashed lemon zinger. troubleinthewind.com

If you have a beachside bungalow and a sunset, you might want to jam out to these busy rock arrangements, often layered with

A hand-written letter taped to the outside of this CD informed me that Jason Tryp is a Brooklyn native who’s an “occasional dweller of the regions of San Diego when having to find himself sleeping in his mode of transport.” But he’s a touch cooler than Jewel. If you dig lo-fi, mid-tempo ’60s grooves with wah-wah and tambourine, Tryp’s your guy. He doesn’t mention any other personnel, so I’m guessing he plays all the instruments himself, à la Prince, and does so competently. The vocals sound OK until he does flat, zombified harmonies that sound like a slightly more coherent Ariel Pink; he’d do well with the help of some proper backup vocalists, unless, of course, that Ariel Pink

extraspecialgood

The Stalins of Sound Tank Tracks

Now more than ever, with radio stations being inundated with tooearnest faux buskers, it seems that a lot of bands could really benefit from spending some quality time with Big Black’s Songs About Fucking. Judging by this record by The Stalins of Sound, who wrap their noise punk in pseudo-Communist propaganda, the band’s done its homework. Tank Tracks finds the trio using a few tricks in the Albini playbook, namely loading a hefty wall of fuzz against a drum-machine backdrop. But the band’s abrasive machinepunk contains its share of hooks, and even some downright pretty melodies. This is all relative, of course, but after the militant march of “Blood Sex,” the group carries the song out on an oddly serene and dreamy coda. The tremolopicked riffs of “El Cajon Beatdown” are just this side of a Norwegian black-metal demo, and “Monkeys Attack” might be the best song that Devo never wrote. It’s not that hard to make a chaotic noise-punk record sound good, but The Stalins of Sound have a knack for songwriting that puts theirs on another level. stalinsofsound.com —Jeff Terich

42 · San Diego CityBeat · February 26, 2014

shit is what he’s going for. Standout tracks: the extremely Jesus and Mary Chain-y “She’s Cute” and the Merseybeat sounds of “You Must Be Crazy.” soundcloud. com/Jason-Tryp —Diana Death

Two Eyes Meet Redux Words Without a Voice EP

Two Eyes Meet Redux describes itself as “pummeling beats” and “sparkling synths,” but this is false advertising—the beats are lethargically toothless and the synths wiggle along without aplomb.

The (thankfully) brief EP ultimately suffers from flat-line syndrome: There are neither peaks nor valleys. Hey, dude, try enticing your audience; get ’em in the mood. How about doing a cover of something like Cee Lo Green’s “Fuck You”? Then you might be saying something. twoeyesmeet redux.bandcamp.com

wellstrungtohang.com —Peter Holslin

Wicked Randall American Nookie EP

Wicked Randall pulls no punches. He bellows / “raps” (I use that word very loosely here) on songs titled “Suicide Bombers” and “Payback, Gonna Be a Bitch,” where he basically shouts the title phrases over and over—and over. His accompanying cheesemetal riffs sound like canned, cornball Garageband loops. Randall also doesn’t fuck around with cover artwork and presentation; instead, he scrawls words out on a piece of loose-leaf notebook paper with the handwriting of a 5-year-old. This is one of the worst things I’ve ever heard.

—Dustin Lothspeich

The Wild Young Hearts California Dreams

I’m always impressed by the kind of range that some bands are able to encapsulate through limited means. Void Lake is one such band, taking on a relatively ambitious dream-pop / shoegaze sound without the array of effects pedals that fill up Kevin Shields’ bedroom closet. But Void Lake’s sound is closer to that of minimalist U.K. post-punks Young Marble Giants than My Bloody Valentine. There’s a dark, gothic intrigue happening in their hazy guitars, detached and distant-sounding female vocals and dub-flavored drum-machine beats. Void Lake are chilly and chilling, and they capture a wide range with relatively few instruments. voidlake.bandcamp.com

The Wild Young Hearts are kind of like Lennie Small from Of Mice and Men: kind of dumb, but with a big heart. California Dreams, like a Pacific Beach bro, can be charming, especially when namedropping San Diego streets and landmarks, but ultimately bland.

When the central conflict to nearly every song is finding the party or “fucking a supermodel” (from the song “Supermodel”), I guess you can’t expect much intellectual challenge. Oops, my bad—they do get all provocative on “What We Know is Wrong,” a critique of some ubiquitous “they” that has the complexity of a Pennywise song: “They keep us silent as sheep, then they distract us with drugs and MTV.” Not exactly Rage Against the Machine, but their audience is probably too drunk and sunburned to notice. thewildyoung hearts.bandcamp.com

—Jeff Terich

—Ryan Bradford

—Dustin Lothspeich

Void Lake Three Songs

Well Strung to Hang

Normandie Wilson

Well Strung to Hang

Geography and Other Problems

Record producer / former Drive Like Jehu drummer Mark Trombino recorded most of these songs way back in ’92. Now, Well Strung to Hang are back together with a new lineup (the only original member is frontman Mark Anderson). Alas, their raw, emotive indie-punk sounds as flabby and shapeless today as it would’ve 22 years ago, though I do dig the jackknife riffs of “Disconnected,” a track recorded in 2002.

Singer / songwriter Normandie Wilson gets a lot of Burt Bacharach comparisons. It’s a fair association, and Wilson regularly cites him as an influence, but she’s never been as Bacharach-y as she is here—her strongest work yet. A song like “A Lack of You” is a perfect example of Wilson as an artist in full control— vocals out front, with minimal accompaniment, as she confidently turns a tale of heartbreak into an

easy-going standard in the making.

It’ll be interesting to see where she goes from here. normandiewilson. bandcamp.com —Scott McDonald

Paul Wolfe Demo

With a pleasant voice and all the coffeehouse trappings of every other acoustic-based, countryfolk band, Paul Wolfe’s four-song demo showcases some fine guitar playing and well-sung harmonies here and there. Sadly, the songwriting comes off awkward and disingenuous—especially on “Union Mine” and the ultracringeworthy “Screenwriter.”

—Dustin Lothspeich

Lacy Younger “Won’t Gimme a Chance”

Based on her photo, I was expecting Lacy Younger to play fairly standard singer / songwriter fare.

Then “Won’t Gimme a Chance” started and out came some huge, distorted guitar riffs and AC/ DC-inspired badass talk. Kudos for the element of surprise, Lacy!

What ultimately holds the song back is how tied to the early-’90s it sounds, right during that brief period when butt-rock was on the way out but grunge hadn’t broken big just yet. Sure, it rocks, but it could benefit from a little updating. lacyyounger.com —Jeff Terich

Zombie Barbie Demo

I guess Zombie Barbie kind of sounds exactly how I thought they would—like the B-52’s met Aqua and Right Said Fred in a weird ’80s electro-goth sex dungeon. And reading their one sheet, it seems that’s basically how they describe their music. If mock-rock is your thing, or if Hasselhoff, Benatar and Yankovic are your idea of a “supergroup” then this band is for you. reverbnation.com/zombiebarbie —Jackson Milgaten

Zoniak Demo

Some rappers do creative things with Auto-Tune. Zoniak is not one of them. When he uses the famed vocal filter, he sounds like a robot filled with cheap brandy, stumbling around to paint-bynumbers club beats. Unfortunately, he’s not any better when he rhymes in a regular voice. reverbnation.com/zoniak —Peter Holslin

if i were u

BY Jeff Terich

Wednesday, Feb. 26 PLAN A: Madball, Twitching Tongues, Born Low, Sculpins @ Soda Bar. New York hardcore has some specific connotations— sleeve tattoos, basketball jerseys, shaved heads and lots and lots of grooves. Madball pretty much checks off every item on that list and have been doing so since 1988.

They’re OG HxC. PLAN B: Robert Randolph and the Family Band, Ana Popovic @ Belly Up Tavern. On the flipside, there’s the option of seeing the bluesiest, funkiest gospel group in the land. I’m not a religious man, but if a man of God can get down like this, then I can dig it.

Thursday, Feb. 27 PLAN A: In Motion Collective, The Sure Fire Soul Ensemble @ Bar Pink. Funk is still alive in California, and with locals In Motion Collective, so is Afrobeat. Not many bands in town bring dense, horn-driven grooves with as much flair, so get silly on some Sneaky Tikis and soak in the vibes they’re transmitting.

BACKUP PLAN: Kevin Seconds, Steve Soto, Russ Rankin @ House of Blues.

Friday, Feb. 28 PLAN A: The Heavy Guilt, Ed Ghost Tucker, Idyll Wild, We Are Sirens @ The Griffin. As it turns out, we’re throwing a party for our Local Music Issue with some of our favorite (mostly) new local bands. I might be a little biased on this one, but I think it’s definitely a show you should mark on your calendar. PLAN B: Deadphones, Inspired and the Sleep, Emerald Rats, DJ Santino Romeri @ Soda Bar. But then again, Deadphones (formerly Cuckoo Chaos) are playing their first official show, so that’s hard to pass up. These guys are making some awesome music right now; don’t be surprised when they get huge. BACKUP PLAN: Age of Collapse, Man vs.

Man, Bridge Jumper @ Tower Bar.

Saturday, March 1 PLAN A: Angel Olsen, Cian Nugent @ Soda Bar. My favorite album to be released during this still-young year is Angel Olsen’s Burn Your Fire For No Witness, a powerful mixture of ragged indie rock and haunting, Leonard Cohen-style folk. Olsen is a topnotch songwriter with a powerful voice,

and if you make it to only one show this week, this is definitely the one. PLAN B: Com Truise, Phantoms @ The Casbah.

I still think Com Truise is kind of a stupid name, but I’ve come to accept that the name doesn’t make the man. And the man’s got some extra funky, ’80s-style synth jams.

What’s not to like about that?

Sunday, March 2 PLAN A: Dave Hause, Northcote @ The Casbah. Rare is the musician who can pull off both roaring punk rock and more melodic singer / songwriter fare, but Dave Hause is just that black swan of a performer. He’s made some noise with The Loved Ones and Paint it Black, but as a solo performer, he gets down to Angel Olsen some heartfelt, twangy sounds that hit you right in the gut. PLAN B: Crisis Arm, Unconditional Arms, The Plurals, The Telephone Projects, Hug Octopus @ The Che Café.

A band with the name Crisis Arm playing at the Che surely equals hardcore, right?

Nope! This Hemet-based group is all swirling, shoegazing goodness. Equal parts volume and dense, psychedelic layers, Crisis Arm promises something mesmerizing.

Monday, March 3 PLAN A: Free Salamander Exhibit, ANA, California Bleeding @ The Casbah. Prog rock is hard to take on a regular basis—contrary to Yngvie Malmsteen’s declaration, more is not necessarily more. But when it’s weird enough, then I’m game. Free Salamander Exhibit feature members of longrunning weirdo brigade Sleepytime Gorilla Museum (which, admittedly, is a similar name) and carry that band’s sense of drama and unpredictability. Just one warning: There might be some flute.

Tuesday, March 4 PLAN A: Mr. Elevator and the Brain Hotel, The Kabbs, Boy King, Sama Dams @ Soda Bar. And here we have yet another Burger Records band putting most modern garage rockers to shame. With some dirty organ riffs and lots of acid-fried weirdness, Mr. Elevator and the Brain Hotel breathe new life into ’60s-inspired sounds. PLAN B: Blu and Exile, Dag Savage feat. Choosey, Denmark Vessey & Scud One, Blame One, Abjo & Mr. Brady, DJ Artistic @ The Casbah. Blu & Exile just reissued their 2007 album Below the Heavens, which had recently been out of print. And that’s a good thing, because nobody should be denied the pleasure of hearing beats and rhymes this fluid. Expect to hear a heavy dose of these tracks during their set.

February 26, 2014 · San Diego CityBeat · 43

HOT! NEW! FRESH! Semi Precious Weapons (Griffin, 3/7), Jamuel Saxon (Soda Bar, 3/17), Transfer (Casbah, 3/28), Ume (Soda Bar, 4/2), Mustard Plug (Casbah, 4/4), The Pains of Being Pure at Heart (Casbah, 5/9), Iggy Azalea (HOB, 5/17), Anti-Nowhere League (HOB, 5/18), ‘Songs of Protest, Songs of Peace’ w/ Indigo Girls (Balboa Theatre, 5/18), Damien Jurado (Casbah, 5/19), Crystal Fighters (Irenic, 5/27), Les Claypool’s Duo de Twang (BUT, 6/12), A-Trak (Fluxx, 6/26), Ash Borer (Che Café, 6/30), Blake Shelton (Sleep Train Amphitheatre, 9/6).

GET YER TICKETS Gary Numan (BUT, 3/5), Tool (Valley View Casino Center, 3/16), St. Vincent (HOB, 3/19), G. Love and Special Sauce (HOB, 3/21), Sharon Jones and The DapKings (HOB, 3/22), Kings of Leon (Sleep Train Amphitheatre, 3/22), Lady Antebellum (Sleep Train Amphitheatre, 3/23), Kool Keith (Casbah, 3/24), Mogwai (BUT, 4/15), Cypress Hill (HOB, 4/17), Ghost B.C. (HOB, 4/26), The Dillinger Escape Plan (Porter’s Pub, 4/26), O.A.R. (BUT, 4/28-29), Danny Brown (Porter’s Pub, 5/2), Tokyo Police Club (BUT, 5/2), The Bad Plus (The Loft at UCSD, 5/4), Manchester Orchestra (HOB, 5/6), Old 97s (BUT, 5/8).

February Wednesday, Feb. 26 Madball at Soda Bar. The Chain Gang of 1974 at The Casbah.

Thursday, Feb. 27 Kevin Seconds at House of Blues.

Friday, Feb. 28 Elvin Bishop at Belly Up Tavern. Deadphones at Soda Bar.

March Saturday, March 1 Angel Olsen at Soda Bar. G-Eazy at SOMA. Com Truise at The Casbah.

Monday, March 3 Childish Gambino at Open Air Theatre.

Tuesday, March 4 Andre Nickatina at Porter’s Pub. Blu and Exile at The Casbah.

Wednesday, March 5 Walk Off The Earth at House of Blues.

Gary Numan at Belly Up Tavern. Painted Palms at The Griffin.

Thursday, March 6 Warm Soda at The Hideout. Nicole Atkins at Soda Bar. JD Samson and Men at Bar Pink.

Friday, March 7 The Ataris at House of Blues. Karl Denson’s Tiny Universe at Belly Up Tavern.

The Casket Girls at The Hideout. Semi Precious Weapons at The Griffin.

Saturday, March 8 San Fermin, Son Lux at The Loft.

44 · San Diego CityBeat · February 26, 2014

Sunday, March 9 Solids at The Hideout. Mirah at The Loft.

Scale The Summit at Soda Bar. Cattle Decapitation at Porter’s Pub.

Monday, March 10 Tacocat at Soda Bar.

Tuesday, March 11 Billy Connolly at Balboa Theatre. Oliver Trolley at Belly Up Tavern.

Thursday, March 13 El Ten Eleven at Belly Up Tavern. Purling Hiss at Soda Bar.

Friday, March 14 Umphrey’s McGee at House of Blues.

Saturday, March 15 The Mary Onettes at Soda Bar.

Sunday, March 16 Tool at Valley View Casino Center.

Monday, March 17 Jamuel Saxon at Soda Bar.

Tuesday, March 18 Perfect Pussy at The Che Café.

Wednesday, March 19 St. Vincent at House of Blues. Wakey!

Wakey! at The Casbah. Galactic at Belly Up Tavern.

Thursday, March 20 Weekend at The Casbah. Bayside at

House of Blues. The Toadies at Belly Up Tavern

Friday, March 21 Small Black at The Casbah. The Orwells at The Casbah. G. Love and Special Sauce at House of Blues. Total Chaos at Soda Bar. Nobunny at The Casbah.

Saturday, March 22 Kings of Leon at Sleep Train Amphitheatre. Sharon Jones and The Dap-Kings at House of Blues. Jeremy Messersmith at House of Blues.

Sunday, March 23 London Grammar at House of Blues.

John Legend at Balboa Theatre. Ana Tijoux at The Casbah. Lady Antebellum at Sleep Train Amphitheatre.

rCLUBSr

710 Beach Club, 710 Garnet Ave, Pacific Beach. 710bc.com. Wed: Open mic, open jam. Thu: Mad Martigan and The Terras.

Fri: Sam Hosking (5 p.m.); A Conscious Few, Eddie Blunt and High Tide, Mr. Good Day (9 p.m.). Sat: Arden Park Roots, POB, James Cavern.

98 Bottles, 2400 Kettner Blvd. Ste. 110, Little Italy. 98bottlessd.com. Thu: Rob Deez music video shoot. Fri: The Lyrical Groove.

American Comedy Co., 818 B Sixth Ave, Downtown. americancomedyco.com. Wed: The Great American Sideshow. Thu-Sat: Harland Williams. Sun: Bo Scott presents.

Bang Bang, 526 Market St, Downtown. facebook.com/BangBangSanDiego. Fri: Jon Dadon, Amanda Panda. Sat: Bixel

Boys, Bones.

Bar Pink, 3829 30th St, North Park. barpink.com. Wed: ‘H.A.M.’ w/ DJ L. Thu: In Motion Collective, Sure Fire Soul Ensemble. Fri: Xenia Rubinos.

Bassmnt, 919 Fourth Ave, Downtown. bassmntsd.com. Thu: Manufactured Superstars. Fri: Riggi and Piros. Sat: Moguai.

Beaumont’s, 5662 La Jolla Blvd, La Jolla. brocktonvilla.com/beaumonts.html. Thu: Idlewild. Fri: Dave Booda Band.

Belly Up Tavern, 143 S. Cedros Ave, Solana Beach. bellyup.com. Wed: Robert Randolph and the Family Band, Ana Popovic. Thu: Lord Huron, Superhumanoids (sold out). Fri: Elvin Bishop, Paul Thorn.

Sat: Cash’d Out, River City. Sun: The Wailers, British Dependency, DJ Carlos Culture. Tue: The Wild Feathers, Saints of Valory, Jamestown Revival.

Boar Cross’n, 390 Grand Ave, Carlsbad. boarcrossn.net. Thu: Parade of Horribles.

Fri: ‘Club Musae’. Sat: Shoreline Rootz.

Brass Rail, 3796 Fifth Ave, Hillcrest. thebrassrailsd.com. Thu: ‘Boyz Club’. Fri: ‘Brown Sugar’. Sat: ‘Sabado En Fuego’ w/ DJs XP, KA. Sun: ‘Noche Romantica’ w/ Daisy Salinas, DJ Sebastian La Madrid.

Mon: ‘Manic Monday’ w/ DJs XP, Junior the DiscoPunk.

Cafe Sevilla, 353 Fifth Ave, Downtown. cafesevilla.com. Wed: Aro Di Santi. Thu: Malamana. Fri: Joeff.

Comedy Store, 916 Pearl St, La Jolla. lajolla.thecomedystore.com. Wed: The Bill Hicks 20th Anniversary Memorial Show.

Croce’s Park West, 2760 Fifth Ave., #100, Bankers Hill. croces.com. Wed: Max Vinetz Quartet. Thu: Dave Scott and the New Slide Quartet. Fri: Gio Trio 1. Sun: Lenny.

Dirk’s Nightclub, 7662 Broadway, Lemon Grove. dirksniteclub.com. Fri-Sat: Serious Guise.

Park. sevengrandbars.com/sd. Wed: Gilbert Castellanos jazz jam. Thu: Comedy night. Fri: Circles.

Dizzy’s, 4275 Mission Bay Drive, Mission Bay. dizzyssandiego.com. Sat: Fred Benedetti and George Svoboda. Sun: ‘Tribute to Dexter Gordon’.

Shakedown Bar, 3048 Midway Drive, Point Loma. theshakedownsd.com.

Thu: Two More Rule, Look Up Here, Spaceshag. Fri: Toni Tee and the Liquid Wisdom, One Foot in the Blues, Boxcar Chiefs, Smack Molly. Sat: The Quakes, The Blackjackits, The Butchery Boys, The Steinbacks.

El Dorado Bar, 1030 Broadway, Downtown. eldoradobar.com. Wed: ‘The Tighten Up’. Thu: Francis Harris. Fri: ‘Soul Flexin’. Sat: Body High.

Epicentre, 8450 Mira Mesa Blvd, Mira Mesa. epicentreconcerts.org. Fri: Abandon The Harbor, Everybody Knows, The Jackal Union, Lights in the Sky, The Calefaction, IAMTHESHOTGUN, CONVENT. Sat: Dnoir, Yung Bros, Ninja, LowKeyTanner and CA$PER, The Miltons, Caffiene, Brutacion, Riboflavin, The Miltons. Sun: Smarter Than Robots, Dayseeker, The I in Self, I of Helix, The Cost of Salvation, The Hollowed, Of Hope and Heresy, Peace in Ter.

Side Bar, 536 Market St, Downtown. sidebarsd.com. Wed: Epic Twelve. Fri: ‘S-Bar’ w/ DJ Kurch.

Soda Bar, 3615 El Cajon Blvd, City Heights. sodabarmusic.com.

Wed: Madball, Twitching Tongues, Born Low, Sculpins. Thu: Idlehands, Champ, Ghost

Parade, Diamond Lakes. Fri: Deadphones, Inspired and the Sleep, Emerald Rats, DJ Santino Romeri. Sat: Angel Olsen, Cian Nugent. Mon: Leslie and the Lys, Dean and the Delilahs, Boone County Comedy Troupe. Tue: Mr. Elevator and the Brain Hotel, The Kabbs, Boy King, Sama Dams.

SOMA, 3350 Sports Arena Blvd, Midway. somasandiego.com. Sat: G-Eazy, Rockie Fresh, KYLE. Spin, 2028 Hancock St, Midtown. spinnightclub.com. Fri: ‘Brazilian Carnival SD’.

Stage Bar & Grill, 762 Fifth Ave, Downtown. stagesaloon.com. Wed: Mark Fisher and Gaslamp Guitars. Thu: Van Roth. Fri: Disco Pimps, Code 3. Sat: Hott Mess, Globalies (7:30 p.m.); DJ Miss

Dust (10:30 p.m.). Sun: ‘Funhouse/Seismic’. Mon: ‘Fettish Monday’. Tue: Marc Delgado.

Sycamore Den, 3391 Adams Ave., San Diego, Normal Heights. sycamoreden. com. Thu: Rey and Davies, Eliza Rickman.

The Bancroft, 9143 Campo Rd, Spring Valley. 619-469-2337. Fri: Sprung Monkey, The Mice. Sat: The Gashers, Vatican Assassins, Civil Disgust, Hungry Livers.

The Casbah, 2501 Kettner Blvd, Midtown. casbahmusic.com. Wed: The Chain Gang of 1974, The Moth and the Flame, Tiger Milk Imports, Sundrop Electric. Thu: Dale Earnhart Jr Jr, Chad Valley (sold out).

Fri: Metalachi, Geezer. Sat: Com Truise, Phantoms. Sun: Dave Hause, Northcote.

Mon: Free Salamander Exhibit, California Bleeding, ANA. Tue: Blu and Exile, Dag Savage feat. Choosey, Denmark Vessey and Scud One, Blame One, Abjo and Mr Brady, DJ Artistic.

The Che Cafe, UCSD campus, La Jolla. thechecafe.blogspot.com. Wed: Power, Haruka, Dirt Squad. Thu: No mic open mic. Fri: Blackstone Rangers, Soft Lions, Idyll Wild. Sun: Crisis Arm, Unconditional Arm, Plurals, The Telephone Projects, Hug Octopus.

The Griffin, 1310 Morena Blvd, Bay Park. thegriffinsd.com. Fri: The Heavy Guilt, Ed Ghost Tucker, Idyll Wild, We Are Sirens.

Sat: Dead Feather Moon, Low Volts.

CONTINUED ON PAGE 46

F6ix, 526 F St., Downtown, Downtown. f6ixsd.com. Fri: DJ XP. Fluxx, 500 Fourth Ave, Downtown. fluxxsd.com. Fri: DJ Craig Smoove, DJ JLouis. Sat: DJ Loczi. Mon: Bone Thugsn-Harmony.

Gallagher’s, 5040 Newport Ave, Ocean Beach. 619-222-5303. Wed: Kitten With a Whip, Trouble in the Jungle. Thu: Hazmatt, DJ Reefah, TRC Soundsystem.

Fri: Danny and The Tramp, DJ Sammi B. Hard Rock Hotel, 207 Fifth Ave, Downtown. hardrockhotelsd.com. Fri: Vokab Company, Dr Seahorse. Sat: DJ DSeven, Dig Dug. Sun: ‘Sunday School’ w/ Sid Vicious, DJ Kurch.

Henry’s Pub, 618 Fifth Ave, Downtown. henryspub.com. Wed: Johnny Tarr, DJ Christopher London. Thu: Mark Fisher, DJ Yodah. Fri: DJs Rev, Yodah. Sat: DJs E, Yodah. Mon: DJs Yodah, Joey Jimenez, Johnny Tarr. Tue: The Big City Dawgs.

House of Blues, 1055 Fifth Ave, Downtown. houseofblues.com/sandiego. Wed: Electric Light Overture, The Dangerous Types. Thu: Kevin Seconds, Steve Soto, Russ Rankin. Fri: Mike Pinto, Jet West, Reeform, The Room Downstairs. Sat: 6ONE9, Arena, Hellbent. Sun: Common Kings. Mon: The Colourist, Night Terrors of 1927, Max and the Moon.

Kava Lounge, 2812 Kettner Blvd, Midtown. kavalounge.com. Wed: ‘Future Wednesday’. Thu: ‘Friends and Family’.

Fri: ‘Tribalove’. Sat: ‘Ascension’. Sun: ‘On The Edge’.

Kensington Club, 4079 Adams Ave, Kensington. 619-284-2848. Wed: Records With Roger. Fri: The Downs Family, Hobo Torch, Confederales. Sat: Shark Blood, Poontang Clam, Cedar Fire, Cardielles.

Mc P’s Irish Pub, 1107 Orange Ave, Coronado. mcpspub.com. Wed: JG Duo. Thu: Tone Cookin’. Fri: Ron’s Garage.

Onyx Room / Thin, 852 Fifth Ave, Downtown. onyxroom.com. Fri: ‘Rumba Lounge’. Sat: ‘Play Saturdays’. Tue: ‘Neo Soul Tuesdays’.

Patricks Gaslamp, 428 F St, Downtown. patricksii.com. Wed: The Fuzzy Rankins Band. Thu: Myron and The Kyniptionz.

Fri: Mystique Element of Soul.

Queen Bee’s, 3925 Ohio St, North Park. queenbeessd.com. Thu: The Battery Kings, Death by Snoo Snoo, The Livenights, Patchwork Parachute, Wilson/Renette, The Roundabouts, The Great Okra, MAC. Tue: Open mic.

Rich’s, 1051 University Ave, Hillcrest. richssandiego.com. Wed: DJ John Joseph. Thu: DJ K-Swift. Fri: DJs Dirty Kurty, Will Z. Sat: DJ Taj. Seven Grand, 3054 University Ave, North

February 26, 2014 · San Diego CityBeat · 45

The Loft @ UCSD, Price Center East, La Jolla. theloft.ucsd.edu. Thu: Ken Anderson and the UCSD Gospel Choir. Fri: Joe Garison and Night People, Amadou Fall.

Sat: Fighting With Irons, Dead Satellites.

Tue: Groundislava.

The Merrow, 1271 University Ave, Hillcrest. rubyroomsd.com. Wed: Dynamic open mic.

Thu: The Young Gents, Time and Distance, A New Ending. Fri: Burns1, Blackbelt Jonez.

Sat: Throw Logic, While She Waits, Circle 7, Neo Geo, Media Solution.

The Office, 3936 30th St, North Park. officebarinc.com. Fri: ‘After Hours’ w/ DJs Adam Salter, Kid Wonder. Sat: ‘American Hustle vs. Wolf of Wall Street’ Oscar party.

Sun: ‘Uptown Top Ranking’ w/ Tribe of Kings. Mon: ‘Dub Dynamite’ w/ Rashi and Eddie Turbo.

Thrusters Lounge, 4633 Mission Blvd, Pacific Beach. thrusterslounge.com. Wed: DJ Schoeny. Fri & Mon: DJ FishFonics.

Sat: DJ Who. Sun: DJ Slowhand. Tue: DJ Craig Smoove.

Til-Two Club, 4746 El Cajon Blvd, City Heights. tiltwoclub.com. Fri: The Amalgamated. Sat: The Shell Corporation, Western Settings, Squarecrow.

Tin Can Ale House, 1863 Fifth Ave, Bankers Hill. thetincan1.wordpress.com. Wed: Love Henry, Sons of Hippies, Suzy and the Lifeguard. Thu: Behind The Wagon, Daniel Crawford, Evan Bethany. Fri: Rudy De Anda, Buddy Banter, Sound Lupus. Sat: Radios Silent, Nothing Haunts Me, The Justice Fire. Mon: ‘The Tin Can Country Club’ w/ Anna Levitt. Tue: The Shifty Eyed Dogs, Black Market III, Boxcar Chief.

Tio Leo’s, 5302 Napa St, Bay Park. tioleos.com. Thu: Karaoke. Thu: Nathan James and The Rhythm Scratchers. Fri: The Four Lads. Sat: Full Strength Funk Band. Tue: The Mudbugs.

Tower Bar, 4757 University Ave, City Heights. thetowerbar.com. Wed: Ratts Revenge. Thu: Rock and Roll Preservation Society DJs. Fri: Age of Collapse, Man vs Man, Bridge Jumper. Sat: Batlords, Rail em to Death, Gravebuzzard. Mon: Saint Shameless, The Bloodflowers.

Turquoise, 873 Turquoise St, Pacific Beach. theturquoise.com/wordpress. Wed: Westside Inflection. Wed: Kevin and Eduardo (4 p.m.); Tomcat Courtney (7 p.m.). Thu: Johnny Deadly Trio. Thu: Talia (4 p.m.); The Jade Visions Jazz Trio (7 p.m.). Fri: Three Chord Justice. Fri: Tomcat Courtney (5 p.m.); Afro Jazziacs (9 p.m.). Sat: Baja Bugs. Sat: Zak Lipton Trio (4 p.m.); Tomcat Courtney (6:30 p.m.); Tony LaVoz and Cold Duck Trio (9 p.m.). Sun: Sounds Like Four (4 p.m.); Bviolin Mystic Groove (7 p.m.). Mon: David Hermsen (4 p.m.); Stefanie Schmitz (7 p.m.). Tue: Karaoke. Tue: Stefanie Schmitz (4 p.m.); Grupo Globo (7 p.m.).

Ux31, 3112 University Ave, North Park. u31bar.com. Wed: Matthew Molarius, Grampadrew and The Gut-String Girls, Ray and Davies, Creatures and The Woods.

Thu: ‘Quit Sleep’. Fri: DJ R-You. West Coast Tavern, 2895 University Ave, North Park. westcoatstavern.com. Wed: DJ Qenoe. Thu: DJ Clean Cut. Fri: DJ Slowhand.

Whistle Stop, 2236 Fern St, South Park. whistlestopbar.com. Wed: Gone Baby Gone, DJ Clinebell Express. Thu: VAMP: Dirty Talk. Fri: Creepy Creeps, Octagrape, DJ Claire.

Winstons, 1921 Bacon St, Ocean Beach. winstonsob.com. Wed: The Expanders, DJ Carlos Culture. Thu: Nikki Hill. Fri: Stranger, Coral Thief. Sat: Fruition, The Midnight Pine. Sun: Jagged Lines, The Night Owl Massacre, Robin Hill. Mon: Electric Waste Band. Tue: C-Money and The Players Inc.

46 · San Diego CityBeat · February 26, 2014

Proud sponsor: Pacific Nature Tours

Ink Well Xwords by Ben Tausig

Across 1. “We’re good to go” gestures 8. Intimate detail?

15. “You’re lying!”

16. Soft marker point 17. One way to turn on a snowboard 18. People who go along with anything, as it were 19. Words repeated in Buster Poindexter’s “Hot Hot Hot” 20. Sidewalks, e.g.

21. “___ Fiction” 22. Hard-living singer James 23. Screening agcy.

26. Massiveness 28. Wrath 30. Fathers who don’t get married 32. Mendes in “The Place Beyond the Pines” 33. Some examples of 8-Acrosses 35. Best Upset and Best Play, for two 36. “I wanna!”

38. Opposer of background checks: Abbr.

39. “Screw off” 40. Cold and waiting to get drunk 41. French toast 43. German article 44. University whose mascot is Riptide the Pelican 46. Sartorius muscle locale 47. Plantarflexion muscle locales 48. Search for intelligence 49. Pitcher-turned-sportscaster Hershiser 51. B-boy connection?

53. “Suppose that ...”

54. British character Bertram on “The Office”

Last week’s answers

57. Orange juice cocktails 60. Self-cutting, e.g.?

61. Morning show specialty 62. Gets by 63. Improvised section for a soloist 64. Show disdain for

Down 1. Savvy about 2. Word before Moe Dee or G Rap, in hip-hop names 3. Uncle Cliff, Aunt Crag, Cousin Bluff, etc.?

4. Innocent response to “Are you smoking that cigarette inside?”

5. Question intensely 6. Shot barely taken?

7. Go out with 8. Key of Bach’s Brandenburg Concerto No. 6 9. Buick coupe until 1991 10. King of the borscht?

11. Reasons for an exam after a hookup: Abbr.

12. Judge Lance in the Simpson and Keating trials 13. Sharp turn 14. They’re longer than singles 20. Protest against squished conditions inside Easter candy packaging?

23. Monthly ranking in Tiger Beat?

24. Place an obstacle in front of 25. Green light 26. Slaves of Sparta 27. Square 29. Executes, as a computer program 31. Org. that recently voted to accept openly gay troops 33. TV chef, to her critics?

34. Word after garage or porch 37. Record label that was absorbed by Geffen 42. One living under anti-gay laws even harsher than in Kansas 45. Mock 47. Protection against lurid search content 50. Intro to French class for a fluent French speaker, e.g.

52. Japanese watch company 53. John’s costar in “Say Anything” 55. 50 Cent’s “___ Club” 56. Showbiz award “grand slam”: Abbr.

57. Karaoke need, casually 58. ___ Garten (the “Barefoot Contessa”) 59. Nuts 60. Rescue squad letters

A pair of tickets for a 4.5 or 8 hour Pacific Nature Tour will be awarded weekly. Email a picture of your answers to crossword@sdcitybeat.com or fax it to 619-325-1393. Limit one win per person per 30 days.

February 26, 2014 · San Diego CityBeat · 47

48 · San Diego CityBeat · February 26, 2014

February 26, 2014 · San Diego CityBeat · 49

50 · San Diego CityBeat · February 26, 2014

February 26, 2014 · San Diego CityBeat · 51